Originally published by detroy at White Noise Studio. See original review here.

Dangerous Music has been producing its own hardware devices in the United States since the early 2000s. Today, they offer a variety of products, including summing mixers, EQs, monitor systems, and converters. The products we’ll cover today are the CONVERT-AD+ and CONVERT-2 converters.

CHECKING OUT THE Convert-AD+

First, let’s look at the CONVERT-AD+ model, an AD converter. Although it’s a 1U rack-size product, it’s quite heavy and not particularly small.

Starting from the left side of the front panel, there’s a button to set the sample rate, ranging from 44.1 to 192 kHz. Next to it is a calibration button, with three selectable options: -14, -16, and -18 dBFS.

Beside that, there are two buttons for selecting the analog input. Looking at the rear panel, there are four analog inputs in total, and you can select one stereo pair (L/R) at a time. This is very useful — for example, if you connect a two-channel recording source to INPUT 1 and a two-channel mix/master source to INPUT 2, you can switch between them easily without repatching cables or needing a patch bay. It’s a very convenient feature if you don’t run a large number of channels.

Next is the Clip Guard button. As discussed in detail in the YouTube review video below, this feature prevents digital clipping from appearing in the DAW. Depending on how it's used, it can serve different roles, including acting like a clipper at the final stage of mastering. However, it's important to note that Clip Guard doesn’t increase gain or act like a compressor — it simply prevents clipping.

Following that is the Peak Hold button, which fixes the peak point on the level meter and highlights it with an LED. This is useful when checking the input level; pressing the reset button clears the peak memory.

Next, the Meter Scaling button lets you zoom in or out on the level meter, making it easier to pinpoint peaks when working at larger levels. These features reflect how much practicality was prioritized in the design — clearly made by engineers, for engineers. Although I haven’t used many converters (maybe fewer than 10), I can confidently say that in terms of practicality, few products match the CONVERT-AD+.

The LED level meter itself is extremely precise and easy to read. In most hardware devices, level meters are only rough references (especially since they’re often small), but the CONVERT series meters are both highly visible and accurate. During recording sessions, I found myself constantly checking the meter, and I was very satisfied with its performance.

Next along the front panel, the Word Clock button allows you to choose between master and slave settings, depending on your setup.

Following that is the X-Former button, which engages a Hammond transformer circuit. Next to it, the Emphasis knob lets you apply preset EQ/COMP settings to further color the sound.

On the rear panel, you’ll find the two pairs of analog inputs mentioned earlier, along with AES output, ADAT OUT, and SPDIF OUT terminals.

The SPDIF OUT is available in both Optical and Coaxial formats. Additionally, there are Word Clock IN/OUT terminals and a USB port. Like any good AD converter, nearly all digital connection formats are supported.

X-Former

Let’s dive deeper into the X-Former feature.

In the image above, the left side shows a 1kHz sine wave captured through the CONVERT-AD+ input, while the right side shows the result with the X-Former engaged. You can clearly see odd and even harmonics being added. You can also hear the sonic difference in the YouTube review below.

Personally, I found that engaging the X-Former tightened and clarified the sound, acting almost like tasteful seasoning. Because it’s just a simple button to engage or disengage, it’s easy to use without worrying about the change being too drastic or coloring the sound too heavily. It feels natural and fits well across different genres and production stages.

Emphasis

This time it's the Emphasis knob. The image on the top shows the Emphasis knob fully reduced after applying the X-Former, and the image on the bottom shows it turned to the maximum. The test above provides visual information about the frequency response, and it is easy to see changes in the amount of overtones. The Emphasis knob does not simply control volume, but is listed as Shelving EQ/COMP in the manual. There is a change in frequency and a change in dynamics as well. Likewise, you can listen to the sound sample in the YouTube video, and I think it is very suitable to use as a seasoning because all the changes do not completely change or overdo the original balance. It would not be easy to imitate this change using a plug-in.

“In terms of practicality, few products match the CONVERT-AD+.”

CONVERT-2 REVIEW

Now let’s turn to the CONVERT-2 DA converter. The basic design closely resembles the CONVERT-AD+, making them perfect companions in a rack setup.

On the front panel, starting from the left, you’ll find the sample rate and calibration selection buttons.

Next are the input source buttons. You can easily select multiple digital inputs with a simple press — either tapping once or holding down the button — making it far more intuitive than digging through an LCD screen menu, like on other products.

Following that are the level meter, Word Clock button, and output trim knob.

On the rear panel, starting from the left, there are analog left/right outputs for speaker connection, followed by a series of digital input terminals.

You’ll also find Word Clock connections, ADAT and SPDIF terminals, and USB and REMOTE terminals.

The Sound of CONVERT-2

AD converters are mainly used during recording, and the CONVERT-AD+ can also be useful during mixing and mastering thanks to its additional features. In contrast, a DA converter primarily affects the monitoring system and doesn’t typically have "special" features — it just changes the sound of your speaker system.

As such, opinions and preferences may vary.

Personally, I found the CONVERT-2 sound to be quite flat, with all frequency ranges represented as-is without embellishment. Some converters can sound overly "high-res" to the point of causing listening fatigue, or make the bass overly tight and rigid.

The Dangerous Music CONVERT-2, however, strikes a neutral balance.

You can hear a re-recorded sound sample from the output stage in the YouTube review video for reference.

In conclusion

This was my first time using Dangerous Music gear.

Above all, I was impressed by how practically these products were designed. The CONVERT-AD+ features, in particular, were extremely easy to use, and the sonic enhancements provided couldn’t easily be replicated with plug-ins. It felt like discovering my own secret seasoning for audio production.

Each unit costs around 5 million won, so they aren't inexpensive. However, I believe they’re a solid investment that engineers or studios working in this field will never regret.

Shop Dangerous Music gear at gearlounge.com.

Apr 28 Dangerous Music CONVERT-AD+ and CONVERT-2 Converter Review