The range of audio interfaces available is growing every day.
Best of all, the quality is sky rocketing with the range, meaning whatever audio interface you choose will likely cover a lot of bases, the advancing technology making high quality audio cheaper and more affordable than ever.
Multiple interfaces will now, well, interface with each other better than ever, allowing us to dedicate a different audio interface and different conversion type, or sound, for different jobs. The Dangerous AD+ can serve as a great way to print your analogue mixes back into the digital realm, serving as an audio interface and A – D converter, i.e. purely converting analogue audio to digital. Companies like Burl, Antelope, Lynx, Prism and more also serve to produce very high end conversion options, either to send audio out to the world (D – A, Digital to Analogue), or back into the computer (Analogue to Digital, A – D).
Mixdown contributor Chris Brownbill had the chance to re-explore his audio interface and converter choices.
Dangerous Music AD+
Earlier this month I got my hands on a Dangerous AD+ converter to try out. I’ve always been relatively happy with printing mixes back thru my current converters, but every few years I try to stick my head out of the sand back into the conversion world to see what the new circumstances are. Not dissimilar to how I think most engineers feel, there is a low end of conversion which is significantly better than it used to be. There is a middle group that actually doesn’t do any perceivable harm. Then the third and top group – which are really special sounding. In brief circumstances where I have been able to do blind tests I’ve always had my preferences on converters but not enough to warrant spending huge money when, if I had to put a percentage on it, at a certain level of chip processing a converter really only pulls roughly 2% of the weight of a mix. I don’t think the wine tasting snobbery is routinely worth the labour when records are made in such haphazard circumstances.
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The price point of the Dangerous Music AD+ suggests that it is a mid tier box, but what I found initially intriguing is the unique features: Clip Guard and the Transformer which I will explore further downstream. Firstly, its worth noting this unit has essentially every feature imperative from a small project studio to a larger commercial facility: Adjustable sample rate, selectable calibration, multiple switchable stereo inputs, zoom view for finer (top10dB) viewing of signal, three word clock modes (internal, external and master), dual AES outputs, SPDIF outputs and all connect via USB.
Something I never knew I needed in a single space stereo A – D converter was dual switchable XLR inputs, very strange that this isn’t a common feature once I used it.
From a build-quality perspective, the AD+ is exactly what you’d expect from Dangerous Music—rock-solid construction with a clean and functional front panel. The layout is simple yet effective with detailed metering and intuitive controls.. The unit operates at sample rates up to 192kHz, ensuring high-resolution capture with an impressive depth of field and stereo imaging.
The CONVERT-AD+ offers two unique features activated by dedicated buttons. The first is the Clip Guard function, which prevents digital “over” indications on the receiving device. While it doesn’t alter the audio—clipped sounds will still be clipped—it ensures that meter readings don’t trigger alarms or lead to rejection by certain facilities. It’s nice to look like a professional by keeping things out of the red. The second feature directly impacts the audio, which is ultimately why we choose our gear. Designed by Chris Muth, Dangerous has incorporated an all-analog circuit to enhance the captured sound. The X-Former Insert button engages a pair of custom-selected Hammond transformers, chosen for their distinctive sonic character. Additionally, the Emphasis knob applies a refined Baxandall-style high-shelf EQ at 300Hz, with its output subtly compressed and blended in parallel with the dry signal before reaching the transformer.
I began by setting up the CONVERT-AD+ and my interfaces as word clock slaves to my master interface, which is my standard workflow. I then printed various mixes back into my DAW and compared them all via my usual method which is by using HOFA 4U+ Blind Test (keep reading with our Comparative Listening article). Right away, compared to my routine A – D’s, the CONVERT-AD+ delivered a noticeably tighter and more defined low end below 100Hz, along with smoother, more open high frequencies. The result was improved clarity and stereo imaging. Switching the CONVERT-AD+ to function as the master clock for my system preserved the clarity in the lows and highs, but the midrange opened up, feeling less congested and more natural. In comparison, the Antelope gave the mix a slightly more aggressive edge in the upper mids whereas the Dangerous clock had a more effortless, organic quality.
I engaged the CONVERT-AD+’s Hammond transformers, and the difference was immediate. The mix took on a richer character, it introduced a satisfying density. The low end remained clear while gaining some additional harmonic weight in the upper bass, and even the highs seemed subtly lifted. On percussion-heavy material, I noticed the transformer gently rounded out transients, giving the mix a polished, cohesive feel. Since the transformer insert is simply on or off, the amount of saturation increases with the input level, allowing for a dynamic, responsive coloration.
While we’re largely discussing the clarity and depth that good quality digital conversation adds, there’s an analogue element to the conversation as well, the analogue signal coming back into digital via analogue connections like the transformer in the COVERT AD+.
The Emphasis knob, positioned next to the transformer, offers a subtle yet effective boost, ranging up to 2dB. This boost operates as a parallel EQ with compression and a hint of second-order harmonic distortion. In practice, turning up the Emphasis control feels like a “make it better” knob—too much can be excessive, but the right amount adds a touch of magic to a mix. Unlike digital processors, it enhances the high end without introducing midrange smearing or harsh artifacts. When combined with the X-Former, the overall mix gains level and impact without unwanted pumping or clipping. I can easily see the CONVERT-AD+ becoming an essential tool for both mixing and mastering, purely for these features alone.
The versatility of the Dangerous Music CONVERT-AD+ extends beyond what a single review can capture. Whether used as an audio interface and A/D converter, mix bus processor, or master clock, its high-quality components make it a valuable addition to any studio. The seamless integration of these functions results in a truly powerful and flexible piece of gear.
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