• Full View
  • Front View
  • Rear View
  • D-Box w/ UA Apollo
  • Hardware Setup
  • Inserting Outboard
  • Track Output Setup
  • Cubase Summing
  • D-Box
  • D-Box Overview
  • Logic Summing
  • D-Box Monitoring
  • D-Box Integration
  • Chop Shop
  • Fact Snack
  • D-Box w/ Ensemble TB
  • D-Box with UA Apollo
  • D-Box with 2-Bus LT
  • D-Box w/ Apogee Ensemble
  • D-Box with Digi003
  • D-Box / Apollo Cabling
  • UA Apollo Console
  • D-Box and Symphony 8x8
  • D-Box w/ FF800
  • D-Box and FireStudio
  • D-Box and Orpheus
  • D-Box Focusrite Setup
  • Front Panel
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  • D-Box 003 and Rosetta 800
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Because you can't mix what you can't hear.

Discover what the platinum hit makers already know...

"If the Monitoring and Mix Buss don't deliver, neither will the song."

  • 8 Channels of Unmatched Analog Summing
  • Transparent Monitoring
  • 20 Watts per Channel of Headphone Amplification
  • Speaker Selection
  • Talkback
  • Reference D/A Conversion
  • 2 Switchable Digital Inputs


Put your recording interface’s D/A converters to work and distribute the load across 8 outputs instead of 2. Mix in stems (like having 4 master faders instead of 1.) Let the D-Box take the heat and rediscover your tracks:

  • Massive Punch and Detail
  • Imaging You Can Grab
  • Incredible Headroom
  • Effortless Ouboard Gear Integration
  • Expand Your Summing Path with 2-Bus or 2-Bus LT


-Hear the difference when angling the mic a half inch upward for more head voice or down for more body

-Feel the punch when carving out a 50Hz or 60Hz pocket in the bass track to make room for the kick

-Close your eyes and step into the space around the voice and instruments

Combine the D-Box with your 8 channel interface and discover...

...the truth is in here


Summing Section

Frequency Response: 1Hz-100kHz within 0.1dB
THD+N: < 0.003%
IMD: < 0.004%
Crosstalk: < -97dB
Noise: < -89dBu total energy in audio band
Maximum Input: +27dBu


Monitor Section

Frequency Response: 1Hz-100kHz within 0.1dB
THD+N: < 0.003%
IMD: < 0.0035%
Crosstalk: < -100dB
Noise: < -91dBu total energy in audio band
Maximum Input: +26dBu


D/A Converter:

Locks to standard AES or SPDIF signals 32kHz-100kHz
Crosstalk: < -101dB
Noise:< -92dBu
THD+N: 0.005%

Nominal operating level: +4 dBu

Input impedance:
25 kohms balanced

Output impedance:
50 ohms balanced

Power consumption: 25 Watt

Warranty: Free 2 year extended warranty with online registration.

Standard warranty: 90 days parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians.

Why does the D-Box have an input labeled CD?

You can plug any digital device into this input, but we labeled it CD in order to give you an idea of one use for it. Most people like to reference their mixes against another mix (either their own or someone else's) so that they have a benchmark as to where they would like to go. The problem with this is that unless you are comparing the two mixes at the same level, through the same signal path, there is no way to accurately tell what you have to do to your tracks.

This is where the D-Box saves the day. If you plug a digital source (let's say the digital output of a CD Player) into the CD In on the D-Box, you can hear what it sounds like through the exact same circuitry that your mix is going through, giving you a more accurate comparison. Not only will the level of your reference be fixed, allowing you to compare it to the level of your own mix, but it will be played through the same D/A converter and monitoring signal path as your mix.

Why do playback converters matter?

D/A converters can greatly alter the sound of a source. Cheap converters can often greatly degrade the signal quality, making a track crunchy or muddy. Even expensive converters can sometimes be a problem for monitoring, because boutique and home hi-fi converters can make the material sound brighter or fatter than it actually is. When it comes to monitoring, what you want is a Mastering-Quality "Reference Monitoring Converter" like the one we have in the D-Box.  Basically what this means is that the converter is designed with the same philosophy as all of our analog monitoring gear- accuracy, transparency and neutrality. This allows you to make informed decisions on what to do to your tracks, because you are hearing exactly what's there.

Now imagine if you were to listen to the analog output of your cd player (or mp3 player, iPhone, computer, etc), through the cheap d/a converters that are built into this consumer-level device. The sound from the cd player that you are listening to will not accurately reflect what is really there in the track. When you compare your mix against this one, you are no longer comparing your mix to the true sound of the reference track, but to the sound of the track through this colored converter. This is not a proper way to reference your mix.

If you can hear both sources through the same Mastering-Quality D/A converter, however, you can feel safe in the knowledge that you are getting a true A/B comparison between the two.

“I’ve gotten into the D-Box summing, it’s exciting to apply it to soft-synths to get that warmth and that width in the mix.”

Morgan Page, Remixer

"The stereo image is wider and the depth in my mix field is just deeper. I love it."

Ricky Rodriguez, Producer, Engineer

“The D-Box inspires confidence, sounds great, and is truly Pro.”

George Shilling, Resolution Magazine

"The D-Box brings depth and adds tasteful separation that you simply can't achieve in the box."

PJ Bianco, Producer

“The D-Box’s sonic…analog summing…results are way closer to the big-desk league than to any of the usual home studio alternatives.”

Stephen Fortner, Keyboard Magazine

“With the D-Box summing I spend less time with my tracks ‘pulling teeth’ trying to get the sound right than with mixing in the box.”

Morgan Page, Remixer

"My ears, my record player and my Dangerous D-Box are the three most irreplaceable tools in my box."

John Schirmer, Producer, Engineer

"When I added the D-Box to my setup at home, I could finally mix just as well there as in any world class studio I've ever worked at in NY or LA."

Ryan West, Mix Engineer

“I really like having that analog stage in the D-Box, it adds something good sonically to the sound."

Ned Douglas, Engineer

"I'm using every single function of the D-Box, every single day. I use the headphones on the D-Box all the time for mastering, for fades and cleaning up edits. ...

Nate Wood, Mastering Engineer