USER GUIDE
®
SOURCE
The Truth is In Here
!!!!!!!
i | DANGEROUS MUSIC
SAFETY REVIEW
The Exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing)
instructions in the literature accompanying this product
Certain precautions should be taken when using electrical products. Please observe the safety hints by reading the manual and obtaining qualified
help if necessary to adhere to the precautions.
1. Always use a properly grounded power supply cord with this product. Please do not defeat the ground pin on the mains plug. This connection
provides earth to the chassis and signal grounds inside the device for clean and quiet operation.
2. Avoid high temperature operation in equipment racks by providing air circulation. The number one killer of electronic gear is HEAT. Vented rack
panels may look like wasted space to an interior decorator, but they look like beauty to a technician or equipment designer! If the front panel is
hot, it is roasting inside the box.
3. Avoid areas of high magnetic fields. The steel chassis is designed to shield the circuits from EMI and RFI (magnetic and radio interference).
When installing equipment in racks, it is prudent to put power amplifiers and large power supplies at least several rack spaces, if not in a different
rack, away from equipment that deals with low level signals. Separation of high level and low level equipment can pre-empt trouble caused by
heat and EMI.
4. Care should be taken to avoid liquid spills around equipment. If a spill occurs, please shut off the gear and disconnect the mains. A qualified
technician should investigate accidents to prevent further equipment damage or personnel hazards caused by spills.
5. If one is uncomfortable with opening gear and changing jumpers or making adjustments, please seek qualified help if necessary.
6. If adjustments or jumper changes are required, please disconnect the mains plug before opening the top. Dropped screws or tools on a live
circuit board can manifest themselves as burn marks and smoked components. While we feel your pain, (been there) subsequent damage is not
covered by the warranty.
Dangerous Music Incorporated reserves the right to change the specifications or modify the designs of its equipment. Sending in the registration
card is our way of keeping in touch with users of our equipment should this become necessary. Registration information is always kept confidential
and never disclosed to third parties for any reason. Company contact information is on the last page of this manual.
The CE sign on this product signifies the fact that the SOURCE® has been tested and verified to conform to the applicable standards of 89/336/EEC.EN55103-1 (emissions) EN61000-2 (immunity) and EN60065:2002 (safety requirements)
This product uses components of the types and quantities that comply with the EC RoHS standard 2002/95/EC. A list
of suppliers and materials is available from DMI. We tightly control production to use top quality materials.
| II
THANK YOU
Thank you for choosing products from the exciting and innovative line of Dangerous Music recording equipment. Many years of reliable
service can be expected from our gear. This is made possible through careful design, construction, and component choices by recording
industry veterans.
The Dangerous Music Source is designed to inspire your musical genes. No matter if you’re on the road or in studio, Source allows you to
hear with unparalleled accuracy, propelling composition, performance and mixing to new heights.
Though the box is overwhelmingly simple in appearance, there are comprehensive tips and application notes in this user’s guide, so don’t
skip the read.
If you have any suggestions for future products, feel free to forward them!
ABOUT DANGEROUS MUSIC
“Audio Integrity: non-negotiable.” This is the credo upon which Dangerous Music is founded. Conceived and designed by end users—not
by engineers in lab coats- the results are products that resurrect dynamic range, punch, intelligibility and emotion. These high-fidelity,
uncompromising signal paths are achieved by harnessing over 20 years of Chris Muth’s design wizardry; creator of infamous custom black
boxes for world class facilities like Hit Factory, Masterdisk, Absolute Audio and Sterling Sound Mastering. Then the critical listening skills
of golden-eared luminaries are applied, with the result being musical tools that fulfill the actual needs of today’s flexible computer based
studio.
iii | DANGEROUS MUSIC
TABLE OF CONTENTS
Overview 1
Source Rear Panel Features & Benefits 2
Source Front Panel Features, Benefits & Connection 5
Setup: Mac 9
Setup: PC 10
Source Application Notes 12
Specifications 13
Warranty 15
SOURCE | 1
OVERVIEW
The Dangerous Source provides the critical link between your ears and the music. Every tracking and mixing decision hinges upon what you hear:
how to locate the microphone’s sweet spot for the perfect vocal, where to place the panning to define each instrument’s space, creating the perfect
marriage of kick and bass in the track...
Plug in two pairs of headphones and get inspired- serious amplification to turn up your creative heat.
Select any of the four sources individually or at the same time- plug your iPod into AN2 and jam along in AN1. There are 2 independent D/A
converters built in, so you can monitor different digital inputs independently.
Listen to any combination of sources from either section. For example, let the singer hear their own personal headphone mix from the AN2 input,
while you engineer the real mix, coming from the USB 2.0 compliant input.
There’s even a line level control room output, mirroring the speaker selector for dubbing, sampling or running external meters.
Switch between two sets of speakers... or use one output for a subwoofer... or play them both at once to blow up the neighborhood.
Built for life on the road, slide the SOURCE into your backpack and hit the streets.
Inside the box you’ll find the Source, a USB 2.0 compliant cable, 12 volt/2 Amp power supply (PSU-SRC) and the manual you’re reading now.
NOTE:
Requires Mac OS 10.6 or higher for driverless plug and play
Windows requires a driver. Download from www.dangerousmusic.com (navigate to the Source product page)
2 | DANGEROUS MUSIC
Source: Rear Panel Connections
[rear pan el inputs pictured above]
1. ANALOG INPUTS
Feature: Analog Input 1 is on XLR / TRS combination connectors.
Benefit: Use gear with XLR balanced connectors, or TRS balanced connectors or TS unbalanced connectors.
Use: Connect audio feeds here, for example, the outputs of your computer interface, keyboard, guitar rack, sampler.
Feature: Analog Input 2 is on an 1/8” mini TRS connector.
Benefit: Compatible with portable playback devices.
Use: Plug in your iPod, SmartPhone, computer output etc... here.
Note: This input is set to unity gain for an iPhone. There is a header internally for setting it to a true -10 dBv.
Tip: , Cables DO make a difference. Ask for Mogami interconnects.
2. DIGITAL INPUT
[rear pan el digital input pictured above]
Feature: Digital input available on XLR / TRS combination connector.
Benefit: Use either AES or SPDIF coaxial, just get a properly wired cable (i.e. RCA-XLRM)
Note: SPDIF = 75 ohms, AES = 110 ohms. The origin, not the destination, will dictate the whether to use SPDIF or AES. In other
words, if your interface is outputting SPDIF, then use 75 ohm cable. If it’s outputting AES, use 110 ohm cable.
Use: Take the digital output from your computer interface and connect it here to monitor through the mastering quality D/A
converter. This will provide an extremely accurate, yet musical representation of your audio that will translate across
multiple systems (i.e. iPod, car stereo, home hi-fi...)
SOURCE | 3
EXAMPLE 1:
AES CABLE
[AES XLR(F)-XLR(M)]
3. DIGITAL THROUGH
[rear pan el digital through pictured above]
Feature: Make AES or SPDIF connections here.
Benefit: Pass through the AES or SPDIF digital input signal.
Use: Monitor an external A/D converter while simultaneously sending to recorder or send the audio back into the session
for more processing, or plug into an outboard digital meter or run into another sou rce for expanded monitoring
options.
4. USB INPUT
EXAMPLE 2:
ADAPT a S/PD I F CABLE
[RCA(F)-1/4”]
EXAMPLE 3:
AES to S/PDI F CABLE
[DIGITAL XLR(M)-RCA]
[rear pan el usb in put pictured above]
Feature: Connect the USB 2.0 compliant output from your computer here.
Benefit: Skip using an interface or use this to monitor an additional output source from your computer.
Use: Use one set of outputs to set up a custom headphone mix for the talent and use the USB output to monitor the
main mix, leveraging the mastering grade converter in so urce. Or reference your masters and music library in high
resolution up to 24 bit, 192 kHz via USB!
Note: Requires Mac OS 10.6 or higher for driverless plug and play
PC requires a driver. Download from www.dangerousmusic.com (navigate to the Source product page)
4 | DANGEROUS MUSIC
5. SPEAKER 1 & 2 OUTPUTS
[rear pan el speaker outputs pictured above]
Feature: Two stereo outputs for connecting two sets of reference monitors.
Benefit: Compare and contrast your mixes on two sets of speakers using XLR and/or TRS connectors.
Tip: , Use one output for speakers and the other output for a sub: turn the sub on or off whenever you need it. (Also, always
hear the speakers in full range- some subs have a non bypassable crossover.)
6. SELECTED LINE OUTPUTS
[rear pan el selected line outputs pictured above]
Feature: A pair of stereo outputs that mirror the speaker source selected.
Benefit: Send your selected source or sources to another destination (i.e. Front of House PA system, mixdown device like a
CD Burner, iPhone or cassette deck- remember those?)
Note: These outputs are unaffected by the speak er leve l kno b.
7. POWER ADAPTOR
[rear pan el power supply connection pictured above]
Feature: Power supply is 12 volts, 2 Amps (part number PSU-SRC) and plug into either receptacle.
Benefit: The other is for possible future accessories that could run off the main power supply (shhh).
SOURCE | 5
Source: Front Panel Features & Benets
1. HEADPHONE OUTPUTS
[headphone source section pictured above]
Feature: Headphone jack 1 & 2 sport a potent headphone amplifier.
Benefit: Loads of hea dro om, to audition intelligibly, make intelligent decisions and drive an inspired performance. Please exhibit
caution when selecting a level. (See
Operation: First choose a source to monitor from, by depressing the appropriate headphone source button. Then determine a
moderate listening level via the headphone level knob.
Tip: , Always start with the level control completely counter clockwise (minimum). The headphone amplifiers are very
powerful and there is no solution for destroyed hearing, even from the audio alchemists at Dangerous Music.
“tip”)
2. HEADPHONE SOURCE (TOGGLE & LATCH MODE)
[headphone source selector pictured above]
TOGGLE
Feature: Instantly and silently switch between four headphone input sources (ana log 1, an alog 2, aes/spd if and us b).
Benefit: While mixing, flip between a reference track. For example, CD source or iPod connected via analog input one or input two
and your mix connected digitally via usb or ae s/spdif.
Note: This is the default setup.
LATCH
Feature: Silently select or deselect any combination of 1, 2, 3 or 4 headphone sources (i.e. analog 1, analog 2, ae s/spdif and usb).
Benefit: Monitor multiple audio inputs simultaneously. For example, feed the master mix into the usb input and the talent (i.e.
vocalist singing now) into analog 1 for zero latency monitoring. (See appen dix for more examples from DJ’s to Producers).
Note: Requires setup. See the following section for details.
Tip: , Headphone sources and Speakers sources are completely independent. (i.e. listen to different things from each).
6 | DANGEROUS MUSIC
3. HEADPHONE SETUP (TOGGLE TO LATCH MODE)
[headphone setup source buttons pictured above]
Feature: Set the desired behavior for the head pho ne so urc e buttons: either togg le or latch mode.
Operation: Simultaneously press and hold the bracketed setup buttons (an 2 and aes/spdif) on the h ead pho ne sour ce side. The setup
lig hts will blink. Then press the button with the orange circle (an 1) on the head pho ne source side to switch between
togg le mode (button unlit) and latch mode (button lit). Press either of the blinking setup butto ns (an 2 or aes/spd if) to
store and exit setup mode.
4. SPEAKER SOURCE BUTTONS (TOGGLE & LATCH MODE)
[speaker source buttons pictured above]
TOGGLE
Feature: Instantly and silently switch between four input sources that feed your speakers (ana log 1, an alog 2, aes/spd if and us b).
Benefit: While mixing, flip between a reference track (i.e. cd source or iPod) and your mix. Or setup two master faders in your
recording software to compare two mixes: one with plug-ins instantiated and the original. (Just two suggestions).
Note: This is the default setup.
LATCH
Feature: Silently select or deselect any combination of 1, 2, 3 or 4 speaker sources (i.e. analog 1, analog 2, ae s/spdif and usb).
Benefit: Monitor multiple audio inputs simultaneously. For example, feed the master mix into the usb input and the drummer’s
click track into analo g 1. Now you can turn the click off when you realize he’ll never lock to it or continue to monitor
it for places to punch-in and rescue. (See appen dix for more examples from DJ’s to Producers).
Tip: , Headphone sources and Speakers sources are completely independent. (i.e. listen to different things from each).
SOURCE | 7
5. SPEAKER SOURCE SETUP (TOGGLE TO LATCH MODE)
[speaker source buttons pictured above]
Feature: Set the desired behavior for the speake r sou rce butto ns: either tog gle or l atch mode.
Benefit: Simultaneously press and hold the bracketed setup buttons (an 2 and aes/spdif) on the h ead pho ne sour ce side. The setup
lig hts will blink. Then press the button with the orange circle (an 1) on the speak er sou rce side to switch between tog gle
mode (button unlit) and latch mode (button lit). Press either of the blinking setup buttons (an 2 or ae s/spdif) to store and
exit setup mode.
6. SPEAKER SELECTION (TOGGLE OR LATCH MODE)
[speaker se lection buttons pictured above]
TOGGLE
Feature: Instantly and silently switch between your speakers using the speaker sel ection buttons (spkr 1 and spk r 2) auditioning
only one set of monitors at a time.
Benefit: A/ B tracking and mix decisions between two different sets of speakers.
Note: This is the default setup.
LATCH
Feature: Silently select or deselect any combination of 1 and/or 2 speakers (i.e. spkr 1 and spkr 2).
Benefit: Audition through either set of speakers or both simultaneously (ie. for the control room and live room).
Tip: , Use one output for speakers and the other output for a sub (not the sandwich): turn the sub on or off whenever you
need it. (Also, always hear the speakers in full range- some subs have a non bypassable crossover.)
7. SPEAKER SELECTION (TOGGLE TO LATCH MODE)
[speaker se lection buttons pictured above]
Feature: Set the desired behavior for the speake r selection butto ns.
8 | DANGEROUS MUSIC
Benefit: Simultaneously press and hold the bracketed setup buttons (an 2 and aes/spdif) on the h ead pho ne sour ce side. The setup
lig hts will blink. Then press the button with the orange circle (spkr 1) on the speaker s elector side to switch between
togg le mode (button unlit) and latch mode (button lit). Press either of the blinking setup butto ns (an 2 or aes/spd if) to
store and exit setup mode.
8. MOMENTOGGLE (HEADPHONES SOURCE • SPEAKER SOURCE • SPEAKERS)
[headphones source, speaker source and speake r selection buttons pictured above]
Feature: mom entog gle is built into all of the buttons above. It provides either a momentary or latching mode, at the user’s
discretion.
Operation: latch mo de. If the buttons are pressed and released quickly, they will latch.
togg le mode. If pressed and held for more than a second, the function remains locked until the button is released.
Uses: Create a talkback mic: Plug a mic and preamp into analog input two (an 2). To communicate with the talent, just hold
the an 2 button on the headph on es source side to speak directly into their cans. Release and it deactivates.
Subwoofer check: Plug your main monitors into spkr 1 and the sub(s) into spkr 2. Then hold the spkr 2 button for as long
as you’d like to check the low frequency content.
9. OPTIONAL RACK KIT
[optional srk rack kit pictured above]
Feature: Mount sou rce in traditional racks or road cases with the optional 19” faceplate (part number srk).
Benefit: Ability to tuck source into a 19” rack bag or into a fixed installation.
Operation: Remove the desktop front and install the single rack space faceplate as explained below.
(1) Gently pull off the two knobs
(2) Remove the two nuts from around phones jacks Remove the four main hex screws from the faceplate
(3) Remove the four main hex screws from the faceplate
(4) Remove the four feet
(5) Replace the phillip head screws in the former holes where the feet had been
(6) Install the one space rack panel
SOURCE | 9
Source: Mac Setup
PRO TOOLS
Plug in sou rce via USB to your Mac.
Power up sour ce.
Launch Pro Tools.
Navigate to the “setup” menu.
Select “playbac k eng ine”. (PHOTO OP 01)
A pop up screen will appear (PHOTO OP 02), select
“pro too ls aggregate i/o” from the
drop down menu. (PHOTO OP 03)
Select “Yes” from the pop up window
(PHOTO OP 04)
Hit “okay” and the session will reopen with the
new “playbac k eng ine”
Navigate to the “setup” menu again
Select “hardware” (PHOTO OP 05)
Click on “launch setu p app” (PHOTO OP 06)
Click on “pro too ls agg regate i/o” from the left
hand menu (PHOTO OP 07)
Select in the checkboxes all the interfaces
you’d like to utilize, including “xmos
usb 2.0 au dio out” (PHOTO OP 07)
Hit “okay”
Start monitoring from Pro Tools!
PHOTO OP 01 PHOTO OP 02
PHOTO OP 03
PHOTO OP 04
PHOTO OP 06
PHOTO OP 05
PHOTO OP 07
10 | DANGEROUS MUSIC
Source: PC Setup
Plug in sou rce via USB
To install the driver, plug the USB port to the
computer and power up sou rce.
Double click on the ceud usb-7.4.2 icon and extract the
driver installer file.
Double click on the extracted file and follow the
directions. (PHOTO OP 01 & 02)
Accept the license agreement then click Next.
(PHOTO OP 03)
Click Install. (PHOTO OP 04)
PHOTO OP 02
PHOTO OP 01
Continue anyway. (PHOTO OP 05)
Ignore the ‘Readme’ file like everyone else does.
Actually, it contains important info.
(PHOTO OP 06)
Finish the Wizard. (PHOTO OP 07)
You are ready to go. If you need to check on the CE
control panel, it is in the Task bar.
Double click on the CE icon and it opens the control
panel. (PHOTO OP 08)
PHOTO OP 03
PHOTO OP 05
PHOTO OP 04
PHOTO OP 06
PHOTO OP 08
PHOTO OP 07
SOURCE | 11
Set the rate (In this case auditioning a CD).
(PHOTO OP 09)
44100Hz selected (PHOTO OP 10)
PHOTO OP 10
PHOTO OP 09
To select the USB card if you have multiple devices,
open the Windows control panel.
(PHOTO OP 11)
Select ‘Sounds and Devices’. (PHOTO OP 12)
Select the XMOS USB Audio 2.0 device. (PHOTO OP 13)
PHOTO OP 12
Play audio for one second so the USB card learns the
sample rate and clocking information.
You are ready to rock.
PHOTO OP 11
Note: If you change the sample rate, you have to give the USB card a 1 second burst of “Play”
again so it can adjust itself to the new condition.
PHOTO OP 13
Windows 8 is supposed to implement a USB Audio 2.0 system. The engineers at Dangerous chose Audio 2.0 because it runs
higher sample and bit rates. PC users, welcome to the bleeding edge!
12 | DANGEROUS MUSIC
Source: Application Examples
The Producer
Talent is using headphones with ana log i nput two (headphone mix out of the computer) and analog in put one for zero latency vocals.
Producer is monitoring via speakers the usb for the master mix and analo g input one for zero latency vocals.
The Road Warrior (traveling musician)
Monitor the music and click track while jamming guitar and looping it back into the session.
Laptop main session tracks connected via usb.
Click track connected via the analog output of the laptop to input t wo.
Guitar processor plugged into in put on e.
Headphones set up to monitor all 3.
Speaker outputs select usb and input one.
selected lin e out feeds a return back into the laptop to track session ideas.
The DJ
A laptop DJ, feeding sou rce via USB (or any other input), could send this mix to the front of house for amplification, while they utilize the
speaker levels for booth control and headphone levels for personal monitoring.
More applications to come!
We want to hear about your creative uses.
SOURCE | 13
SPECIFICATIONS
INPUT 1 TO SELECTED LINE OUT AND SPEAKERS
Frequency Response +0, -0.5dB from <10 Hz to >80 kHz
THD+N < 0.0025% @+4dBu
IMD (SMPTE) < 0.0025% @ +4dBu
Crosstalk rejection >108dB
Noise < -93 dB, unweighted
NOTE: Speaker outs can run at -6dB (factory setting) or unity gain (remove jumpers 3 and 4)
Maximum input level > +26 dBu
INPUT 2 TO SELECTED LINE OUT AND SPEAKERS
Frequency Response +0, -0.5dB from <10 Hz to >80 kHz
THD+N < 0.0025% @ +4dBu
IMD (SMPTE) < 0.0026% @ +4dBu
Crosstalk rejection > -98dB
Noise < -90 dB, unweighted
NOTE: Input 2 can run at -10dBV or -16dBV (by setting JP1 and JP2. Remove for -10dBV)
Default factory setting is -16dBV to accommodate 1/8” headphone outputs of iPhones and cell phones
Frequency response +0, -0.5dB from <10Hz to >50kHz
OUTPUTS
The meter and speakers outputs are fully balanced and 600 ohm drive capable to >+26dBu.
Volume knobs track better than +- 0.5dB from unity to -40dB.
The headphone amp can easily drive several sets of cans.
Maximum output level > +26 dBu
Shipping weight (in carton) 7 lbs
Dimensions 12 3/4” wide X 8” deep X 1 5/8” high
14 | DANGEROUS MUSIC
DIGITAL INPUTS
The AES inputs lock from 32kHz to 192kHz sample rates with the following: <0.004% THD+N
-0.2dB at 10 Hz and 22kHz (48kHz sample rate)
-0.2dB at 10Hz and 34kHz (higher rates)
Crosstalk rejection >103dB
Power Supply: 12 volt, 2 Amp (Part number PSU-SRC)
Optional Rack Kit: SRC (Source Rack Kit), $49.99
Now it’s your turn to unleash the potential of sou rce and tell us all the unusual applications you’ve utilized it in!
Experiment well beyond the pages of this manual. The Source is a still audio river that runs deep.
-The Dangerous Music Team
-you will hear the difference...
SOURCE | 15
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 shipping damage, abusive operation or modifications/attempted repair by unauthorized
technicians.
USA EUROPE
Dangerous Music Inc. Dangerous Music Europe
231 Stevens Road Stieleichenweg 55
Edmeston, NY 13335 50999 Cologne, Germany
Fon: +49 2236 393731
Email: info@dangerousmusic.com E-mail: info@dangerousmusic.de
Dangerous Music, Inc. reserves the right to alter the software and design of their equipment.
If after reading the manual more information for an application is needed, please contact us via email for the quickest response.
•FactorycontactforRA#mustoccurbeforeshippingaunittousforservice.
•Pleasekeeptheoriginalcartonsincasestorageortransportationofunitsisrequired.
•Alwaysinsureshipmentasthesedamagesarenotcoveredbythewarranty.
•OperatingthedevicewithanythingotherthantheDangerousMusicPowerSupplywillvoidthewarranty
•Thankyouforactuallyreadingthemanual.NowgomakesomeDangerousMusic!
revision 9.0 marek April 2013
Dangerous Music Inc. 231 Stevens Road, Edmeston, NY 13335 info@dangerousmusic.com www.dangerousmusic.com
Loading...