If you want an audiophile-grade DAC to handle the front end of your stereo monitoring rig in a mastering facility, the Dangerous Music CONVERT-2 is more than up to the task. This 2-channel digital-to-analog converter is designed to give you a clean, powerful, precise, and accurate performance as you monitor or route audio from the digital domain. Feed your stereo system with signal from the CONVERT-2, and you can be confident in what you're hearing as you work.

The CONVERT-2 is also enhanced by a bevy of easy-to-use features. Choose from different input calibrations at the press of a button, and rest easy as the CONVERT-2 automatically adjusts the sample rate when you switch among different sessions. All of this is designed to make stereo mastering a much simpler and more streamlined affair.

Stereo Mastering-Grade DAC    For Referencing and Monitoring    For Stereo Systems    On-the-Fly Input Switching    Automatic Sample Lock Switch    Instant Input Calibration at 3 Levels    Nearly Zero Jitter    Can be Used as Independent Clock    Sampling Rates up to 192 kHz    Designed by Chris Muth and Paul Messick

Dangerous has been building award-winning converters since 2002. Eager to develop a new DAC, Dangerous brought in Chris Muth and Paul Messick into the deisgn. These two world-renowned experts made sure—from the low-pass filtering on the analog side, to the JetPLL ultralow-jitter digital clocking—everything has been refined to deliver a supremely musical, yet transparent performance.

Renowned designer Chris Muth developed the audiophile-grade analog audio path for the CONVERT-2, meticulously fine-tuning the low-pass reconstruction filters that sit at the heart of any DAC. These filters are necessary for a DAC to function well and extra care has been paid to them here.

Dangerous brought in digital guru Paul Messick to ensure the digital circuitry of the CONVERT-2 matches its finely tuned analog circuit. Paul refined the CONVERT's JetPLL ultralow-jitter clocking technology until it virtually eliminated jitter in the audio band and beyond, resulting in a clearer sound with less ear fatigue.

Many digital audio systems are synced to the best-sounding clock in the rack, and Dangerous hopes you'll choose the CONVERT-2 as the master clock for this reason. Simply use the Word Clock output and set the CONVERT-2 into Master mode from the front panel, and all the digital gear in your studio will benefit from The CONVERT-2's Jitter Elimination Technology.

The device sports industry-standard reference levels of -14, -16, and -18 dBFS, so you can recalibrate the CONVERT-2 with the push of a button. While many professional converters are only aligned at the factory, the CONVERT-2 lets you move flexibly between different reference levels on the fly. Anyone who's ever fumbled around behind a rack while a second person watches an external meter knows the special value of our front-panel calibration buttons, especially when there are eight channels from which to work.

Simply select Auto on the front panel and the CONVERT-2 will match its sample rate to the input signal. If you've ever started working at the wrong sample rate, you'll know why this feature can be so important. If you're swapping among different DAW sessions at different sample rates, the CONVERT-2 will follow your every move. No more horrible jump-scares in the form of horrendously distorted audio.

The CONVERT-2 lets you swap between multiple digital inputs on the fly from the front-panel buttons. No more digging into elaborate menus and system settings just to listen to iTunes, and no more rerouting software drivers just to hear a different output. Because the CONVERT-2 can automatically lock to the incoming signal's sample rate, you don't need to even think about sample rates as you switch between inputs.

Four digital inputs include USB, AES/SPDIF, ADAT and Optical SPDIF (TOSLINK). WC in and out are provided. Connections to the analog world are made possible by two XLR outputs. Furthermore, AES throughputs are on hand for routing digital signal to external gear like digital meters.

The CONVERT-2 offers the type of peak-over-average metering typically found in expensive outboard mastering meters. The meter automatically calibrates to the chosen input reference level, giving you consistent visuals on every project. A further enhancement is Dangerous Music's 3-word-over indicator, which tells you when three consecutive samples have clipped, meaning you're a breath away from violating industry standards for CD reproduction.

Whether you want this clipping or not is up to you, but at least you have a reliable indicator for clipping in the CONVERT-2.

Simply hook up the device to Dangerous Music's award-winning MONITOR-ST/SR Remote to the rear-panel ports, and you've got best-in-class desktop remote control over the CONVERT's front-panel input selectors. Add the CONVERT-2 to your existing MONITOR-ST/SR rig for seamless integration of a quality DAC into your surround monitoring system.

Related Questions and Answers

Q: 1. What are the differences between this unit and their Pro version that costs $1999?

A: The ADI-2 Pro FS R model two balanced headphone outs, two analog combo XLR/TRS 1/4-inch inputs, optical SPDIF I/O that also understands ADAT, and coaxial SPDIF (RCA) and AES I/O (XLR) via an included breakout cable. These features make the Pro model more versatile and capable of being a high fidelity audio interface for a computer. The ADI2 DAC FS is an excellent DAC, with all of the DSP , equalization and digital to analog audio conversion quality you would expect from RME, but does not have the analog inputs or other extra features mentioned above.

Q: 2. can RME ADI 2 DAC be powerful enough to drive Audeze lcd 3?

A: No it is not. The built-in headphone amplifier provides low THD values even with 32- or 16-Ohm headphones,

Q: 3. Will this connect a XF705 to a Windows 10 desktop for live stream? Is there HDI and HDMI version?

A: The Magewell Pro Convert SDI 4K Plus will do what you wish. There are only SDI or HDMI versions.

Q: 4. What is the difference between this and the Pro Convert HDMI Plus? (https://www.bhphotovideo.com/c/product/1454576-REG/magewell_64020_pro_convert_hdmi_plus.html)

A: The main difference is that the Magewell Pro Convert HDMI plus does not support 4k NDI encoding like the Pro Convert HDMI 4k will. The Pro Convert HDMI support up to 2k NDI encoding.

Q: 5. Can this up or down scale to a HDMI input to NDI at 2160p29.97Hz (not 30Hz)?

A: No, The Magewell Pro Convert HDMI Plus does not support 4k encoding. Please use the Magewell Pro Convert HDMI 4K Plus BH #MA64010 thttps://bhpho.to/3zgjsiO Also, the input frame rate needs to be 29.97Hz or 59.94Hz so that the encoder is able to output at 29.97Hz.

Q: 6. What is the purpose of the bracket that ships with this device? How is it used? It is not obvious to me.

A: The L bracket is a mounting accessory that does not necessarily need to be used but is included to facilitate a specifically designed mounting option.

Q: 7. I would use this for the dac for a cd player , Can I also input a amplifier for using the headphone portion as well ?

A: The RME ADI-2 DAC FS Ultra-Fidelity PCM/DSD 768 kHz DA Converter accepts digital input connections for converting to analog outputs. A CD player with digital outputs could potentially be connected in this manner.

Q: 8. Will the Tricaster TC1 automatically pickup the audio without routing through Dante?

A: The Vizrt TriCaster TC1 would require a Dante License in order to recognize Dante audio streams created by the Magewell Pro Convert Audio DX. The The Vizrt TriCaster TC1 would be able to natively receive an NDI audio stream created by the Magewell Pro Convert Audio DX.

Q: 9. Can I use it to acquire SPDIF signal with my computer?

A: No. SPDIF is a digital audio signal, therefore would not be a signal that a computer would recognize. Coumputers can process analog audio in and out, OR digital audio through USB.

Q: 10. Can i hook this to an amp and powered subwoofer at tbe same time

A: It depends on the powered sub woofer. The DAC has just stereo left an right outputs, so it really does not behave like an A/V receiver that has a dedicated sub out. Rather, you would use a powered sub that has full-range left and right inputs, which would pass through the internal crossover, which is typically variable, and then pass thru a full range l/r signal output that you can then feed to your amp,