Fundamentally, yeah (probably depends specifically on which hybrid amp you're comparing to which tube DI), but one is outputting at a standard line level, and the other at mic level (requiring subsequent amplification).
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Awesome DI blind comparison
- Thread starter Nuage420
- Start date
Fundamentally, yeah (probably depends specifically on which hybrid amp you're comparing to which tube DI), but one is outputting at a standard line level, and the other at mic level (requiring subsequent amplification).
The handbox for instance has a 3 tube pre, and the line out comes after it, if if was built separate from the amp would it be a tube pre with a DI? Is the Noble technically a tube pre since it has the eq section?
Things here can get pretty sketchy as the use and therefore definition of "DI box" is somewhat broad.
My perspective, a DI box traditionally steps down instrument level signal to microphone level signal. The DI box then plugs into a Mic Pre.
A Line Out, as stated, is a Line Level signal intended to plug into a Line Input.
There are also impedance considerations as well.
(I am a EE as well)
Nowadays, I don’t know of a direct input device that doesn’t do that, regardless of whether it’s a pre or a straight up DI. I also don’t know of why a pre for bass would ever want to bypass the pre and just be a plain old DI, though most allow it as an option.
Fender's confusion about vibrato/tremolo is a great example.
I listened with some decent headphones and In the mix I really liked 2, the reddi. With 7 as a second best. With the bass Isolated the Noble suddenly sounded a lot better to me, but I still prefered the Reddi. In the mix I would have picked the radial and the noble as two equal decent no nonsense plain di’s. I do think it is mainly a matter of taste. The colour of the reddi is what I often look for to realise in my tone.
Sure.
I have never taken it to mean reduce to mic level as pretty much every desk and most modern digital interfaces can take either. I see no need to reduce level down then amplify it up gain. Also having done large PA and OB rigs where there is a long distance between the source and receive (desk etc) and having it at low level makes no sense in terms of SNR; get the level as high as possible at the send end, and attenuate at the receive.
Sure. I've never found a passive only TRF box useful with a passive bass for this reason; source Z is too high and too frequency dependent.
Ok. I don't disagree regarding your comment about SNR.
I'm not sure how to reply to this other than to repeat what I already stated. You mention modern digital interfaces but consider the time in which DI boxes were first used. So much of modern audio equipment still adheres or looks to traditional standards created years ago.
Traditionally DI boxes were designed and used to interface instrument level signals and to microphone level signals.
The Radial JDI, Counrtyman, and RNDI all reduce signal level to a useable range for a Mic Pre. Also provides high input impedance to minimize loading and low output impedance for long cable runs and minimize noise pickup.
I'm not speaking for everything out there and available. Capability of modern equipment can be better than older gear in many ways.
You asked what the functional difference was between a Line Out and DI box. I'm pretty sure I covered it with my initial response.
I designed and built my first DI boxes in the early 80s and they didn't reduce to instrument or mic level and I've had no difficulty using them with lots of analog and digital gear in the interim. My current designs are just improved variations on theses.
Yes, which passive devices are pretty poor at as I mentioned in the previous post. Now with the buffering, add some gain, good drive capability and a good TRF for galvanic isolation and you have the potential for a good DI.
Passive DIs are a throwback to the early eras when active circuits were expensive.
VERY interesting video! I've owned, gigged, and recorded several of these DIs. I've actually owned the REDDI twice. My #1 for the past five and a half years is the Noble! That's the one I picked in the video. Woo hoo!!
A recent recording with the Noble:
So that when you adjust your sound on stage it doesn't affect the sound out front. Think of your amp/cab as just a stage monitor..... you don't want adjustments to your monitors to affect FOH.
I'm not sure if you've mentioned it, but with the line out on that amp you don't really need a DI..... although having a cheap one handy is a good idea for emergencies.
First thanks for linking this. It has reconfirmed to me that these choices matters less than people think. I especially liked Rhett Shull's response: If you came in with any but the Pyle I'd say "yea cool; sounds great; let's roll."
Listening blind I liked the Radial and the Zod about equally and thought the Pyle sounded distinctly bad. The Pyle was the one most different sounding of the group so it was easy to separate and IMO easy to decide it sounded worse, not better. The other four seemed on a par to me. I was impressed that multiple pros picked out the Noble and of course disappointed I could not also pick it out myself, but I'm not a pro
A couple of the pros said the Radial was just the sound of the bass but they reacted differently to that e.g. one saying that's ok and another saying that's inferior. I think if you have crafted a live sound for your band then having a DI that is just the sound of the bass and your effects, no further coloration, that you can send to the FOH is probably a very good thing.
I own a Broughton P15 which use for practice at home and to record with at home. I don't take it to live gigs. I'm in the "subtlety doesn't matter live" camp because the room and the club sound will take over and my subtle tone will be gone.
Live I play through a club backline and lately add a Fairfield Accountant for compression and some grit. It's very small and convenient and I'd say not at all subtle. Then the club sound person takes the sound the way they prefer. Some always mic the cab, some stick a DI in before the amp, and some take a balanced out from the amp. They each have their way of handling sound, know the room, and know the equipment, so I don't tell them how to do their job.
Listening blind I liked the Radial and the Zod about equally and thought the Pyle sounded distinctly bad. The Pyle was the one most different sounding of the group so it was easy to separate and IMO easy to decide it sounded worse, not better. The other four seemed on a par to me. I was impressed that multiple pros picked out the Noble and of course disappointed I could not also pick it out myself, but I'm not a pro
A couple of the pros said the Radial was just the sound of the bass but they reacted differently to that e.g. one saying that's ok and another saying that's inferior. I think if you have crafted a live sound for your band then having a DI that is just the sound of the bass and your effects, no further coloration, that you can send to the FOH is probably a very good thing.
I own a Broughton P15 which use for practice at home and to record with at home. I don't take it to live gigs. I'm in the "subtlety doesn't matter live" camp because the room and the club sound will take over and my subtle tone will be gone.
Live I play through a club backline and lately add a Fairfield Accountant for compression and some grit. It's very small and convenient and I'd say not at all subtle. Then the club sound person takes the sound the way they prefer. Some always mic the cab, some stick a DI in before the amp, and some take a balanced out from the amp. They each have their way of handling sound, know the room, and know the equipment, so I don't tell them how to do their job.
To have compared many direct boxes and DI-preamps, I agree with the conclusions of this video. The Radial Engineering JDI Passive Direct Box rivals many more expensive models, it has a Kyber crystal in it, a Jensen Transformer, a speaker emulation filter and what's more, it's small, it's green and its name reminds me of something...
With a Xotic Effects Bass RC Booster / Bass RC Booster V2 / BB Preamp pedal or a Darkglass Microtubes and maybe some compression, you can take on the Galactic Empire !
May the Groove be with you.
With a Xotic Effects Bass RC Booster / Bass RC Booster V2 / BB Preamp pedal or a Darkglass Microtubes and maybe some compression, you can take on the Galactic Empire !
May the Groove be with you.
My first audio test with the new 500 series rack I just built. i have been selling off gear in order to pay for this. As for the recording I gradually raised the volume of the bass so you can hear how the preamps responded. I still have a long way to go to fine-tune everything just right. And it's hard to eq bass correctly where there are no other instruments to account for. The dirt is coming from Pre-Amp 01 the Lachapell. The lows from Pre-Amp 2 the BAE 1023L Neve. This recording is 100% direct.
Dropbox - 500_Series_Audio_Test.mp3 - Simplify your life
Pre-Amps 03 thru 08 I still use on occasion and Pre-Amps 09 thru 23 are all for sale
01 Lachapelle Audio 583s MK2 DI
02 BAE 1023L DI
03 Lachapelle Audio 992 DI
04 BAE 1028 DI
05 Avedis MA5 DI
06 Great River MP-500NV
07 Teergarden Phatboy Tube DI
08 REDDI Tube DI
09 Chandler LTD1 DI
10 Avalon U5 SOLD
11 Avalon V5
12 Noble Tube DI SOLD
13 WR Goliath Tube DI SOLD
14 Ampeg SCR DI SOLD
15 Sadowsky SBP-1 DI SOLD
16 Sonic Farm 24DI SOLD
17 JHS ColorBox V2
18 SansAmp VT Bass DI SOLD
19 Sans Amp Bass Driver DI SOLD
20 Aguilar Tone Hammer DI SOLD
21 MXR 80 DI SOLD
22 Olympic Shift Line DI SOLD
23 Aphex Bass Xciter DI
Dropbox - 500_Series_Audio_Test.mp3 - Simplify your life
Pre-Amps 03 thru 08 I still use on occasion and Pre-Amps 09 thru 23 are all for sale
01 Lachapelle Audio 583s MK2 DI
02 BAE 1023L DI
03 Lachapelle Audio 992 DI
04 BAE 1028 DI
05 Avedis MA5 DI
06 Great River MP-500NV
07 Teergarden Phatboy Tube DI
08 REDDI Tube DI
09 Chandler LTD1 DI
10 Avalon U5 SOLD
11 Avalon V5
12 Noble Tube DI SOLD
13 WR Goliath Tube DI SOLD
14 Ampeg SCR DI SOLD
15 Sadowsky SBP-1 DI SOLD
16 Sonic Farm 24DI SOLD
17 JHS ColorBox V2
18 SansAmp VT Bass DI SOLD
19 Sans Amp Bass Driver DI SOLD
20 Aguilar Tone Hammer DI SOLD
21 MXR 80 DI SOLD
22 Olympic Shift Line DI SOLD
23 Aphex Bass Xciter DI
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