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Am I crazy for wanting to stop using amplifiers? (Behold the REDDI.)

Yeah i wouldnt bring my REDDI to a bar gig.. for the smoke alone that gets into everything and ruins it...waste of money to use it on a gig like that. just use my DI out of my amp or countryman.
And it is not worth using a device like that in an environment that no one can tell the difference between your 410 cab and the droning lowend of too loud guitars..
but theater gigs, recording gigs,church gigs if the PA is pro is where the difference it very apparent.

I personally just use basses with tones that I like. I keep a $20 Whirlwind DI on my pedal board and leave the amp in my truck unless I absolutely, positively need it. Blasphemy? Here's my logic...

A. Most gigs I can load in/out in one trip.
B. Most gigs I am at the mercy of the sound guy and/or house PA anyway.
C. Reduced stage volume means better stage mixes, fewer headaches and less sonic hangover the next day.
D. The greatest bass tone in the world don't mean sh!t if it doesn't sit in the mix well. The sound guy can hear the mix in the room and adjust to suit. If you're trying to fill the room from the stage, he can't do anything with you.
E. Most of us are playing in crappy bars with absolutely no consideration given to acoustics, sound dampening, ideal listening environments, etc. Your tone will not be conveyed to the room anyway.
F. If someone spills a beer on my DI, I can buy 2 backups for the price of a tank of gas. If someone spills a beer on your REDDI...
 
You seem to be familiar with using them as an interface between a bass an a power amplifier, but what about general purpose studio use, and on different instruments?
I mostly used them going direct to line-level inputs, whether that was a power amp, the line input of a mixer, or a computer sound card. They work perfectly in all three applications. I've also used them as processors for recorded tracks. The Phoenix has a warm, thick, velvety quality, while the TAB-Funk has more extended lows and highs, and a "3D spatial" quality. Others have reported they are both terrific for keyboards, to give heft and "naturalness" to synthetic sounds.

I once exchanged a few messages with Peter Montessi at A-Designs, explaining practical elements that I thought would send the REDDI to whole new levels of usability in a live-onstage context... and it was like talking to a brick wall. I would say "how about this feature?" and he would respond "the REDDI doesn't have that feature." :hmm: I would say "this and this functions would make it perfect for onstage use!" and he'd respond "it is not meant for onstage use." :hmm: Don't get me wrong, he was very nice in other regards, and I do love the undeniable tone of the REDDI... I just see it as a case of a designer who thinks his design can't be improved.
 
I once exchanged a few messages with Peter Montessi at A-Designs, explaining practical elements that I thought would send the REDDI to whole new levels of usability in a live-onstage context... and it was like talking to a brick wall. I would say "how about this feature?" and he would respond "the REDDI doesn't have that feature." :hmm: I would say "this and this functions would make it perfect for onstage use!" and he'd respond "it is not meant for onstage use." :hmm: Don't get me wrong, he was very nice in other regards, and I do love the undeniable tone of the REDDI... I just see it as a case of a designer who thinks his design can't be improved.

I know. I'd probably have a one if it had a through like the Avalon U5. I have seen many pee wish for this for stage use. Why wouldn't you make a modification? Sell more stuff, make more money, etc.

I think I'll go with an Avalon U5 if I go that direction again.
 
I know. I'd probably have a one if it had a through like the Avalon U5. I have seen many pee wish for this for stage use. Why wouldn't you make a modification? Sell more stuff, make more money, etc.

I think I'll go with an Avalon U5 if I go that direction again.

They listened and it now has a through, incidentally.