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Favorite D.I. Box

What D.I. do you/would you like to have on your board?

  • MXR

    Votes: 18 5.8%

  • SansAmp

    Votes: 139 45.0%

  • Sadowsky

    Votes: 39 12.6%

  • Aguilar

    Votes: 21 6.8%

  • Fodera

    Votes: 3 1.0%

  • Other

    Votes: 89 28.8%
  • Total voters
    309
#141
Yamarc:
I have a Retrospec Squeeze box as well as a Juice Box; both are a wonderful pieces of gear. Very warm, very quiet. They are quite hard to come by anymore, and when they are found it is for a ridiculous amount of cash.

They are tube boxes, and so really are not what I would call "transparent" (yet, with the voicing filters engaged, neither is the U5), but their sound is very clear and rich. The circuit is very well designed and both units are handmade (well, that should read "were handmade").

As far as flavor goes, I might compare the sound to a Radial JDI or possibly a Raven Labs APD1 (another discontinued item). The Retropspec units are both "key" ingredients in Tony Levin's "sound", altho, when last I checked he was now using JDIs for recording, and I am sure that proabalycarries over to live work (the Squeeze box is the compressor of Mr. Levin's choice, tho).

Might I add, the cost or price of a DI is rather inconsequential to the outcome. A lot of players use Countryman, which are fairly inexpensive. Michael Manring gets a rather phenomenal sound using little passive Whirlwind IMPs. And tho I really enjoy my Avalon....and have played some very expensive DIs and Mic pres (Manley, Millenia et al) none of them make me sound better when I am playing poorly. It all comes back to your heart, head and hands.....

Max
 
#142
I'm loving my MXR M80+
I've had it for about two years now and it's still going strong. I like the fact that it has two channels. The distortion can be a bit thin at times, but a little tweaking will fix that up. I particularly like using the distortion channel for a volume boost rather than distortion, or for a bit of growl if needed. Very nice box.
 
#143
Robman said:
I'm loving my MXR M80+
I've had it for about two years now and it's still going strong. I like the fact that it has two channels. The distortion can be a bit thin at times, but a little tweaking will fix that up. I particularly like using the distortion channel for a volume boost rather than distortion, or for a bit of growl if needed. Very nice box.
Click to expand...

Yeah,what he said !!!!!!!!!! :)
 
#145
i know its not a designated di box,but ive heard good things about the ebs preamp stompbox.it has a di out,can be used as a preamp and also can be used as a headphone amp.anyone tried one?
 
#147
maxvalentino said:
for what it is worth....a few months ago I had a review of the Fishman Platinum Pro EQ Bass up here at TB (which I believe is still available via the "reviews" navigation).

I give the box a pretty thorough workout, and an honest review of what it does and how.

Fishman liked the rview so much it is posted on their website, too.

I have been working on a fairly comprehensive study/review/comparison of DIs for TB..some of the units I have reviewed:
Avalon U5
BBE 100
Radial (both versions,(JDI andJd4, but not the new one, yet)
Countryman 85
Fishman Pro EQ Platinum
L.R. Baggs
Retrospec Juice Box
Raven Labs APD1 and MDB1
ADL 100Gand 300G
Aguliar Tube DirectDB900
Aphex 1401 and 1402
Sans Amp (Bass Driver, Bass DI, XDI, and Acoustic DI)
ART Tube MP and Levelar (both can function as DIs)
Bellari Tube DI
Behringer Ultra DI
Whirlwind Director and IMP
BSS AR133 and AR416
Demeter VTDB
Horizon Active DI
Manley Tube Direct
Palmer PDI
Summit Td100
MXR M80
...now what is really sick is that for the exception of the Palmer,Demeter, Behringer, Horizon, Whirlwind,Sans Amp Bass Driver and Bass DI and MXR units I own all of these!!

I know this will start some nasty flames, but I have not really been all that impressed with Sans Amps (save for the Acoustic DI), yet...the other day I hooked one up in series with the Aphex 1402, and that was really quite interesting.
Overall, they don't rank too high in my book (but then again, I might be spoiled by the ADL,Summit and Retrospec boxes!)
Of less expensive DIS, the Fishman, Baggs,Countryman, and Raven Labs units all score big. In the next price range would be Avalon U5 and Radial JDI along with the Summit TD100, Demeter and Retrospec Juice Box. Tho' to be fair I have been lately using an Aguilar myself.

And..in that rarified mucho-expensive range ($800 and up) would sit the Manley and Anthony DeMaria Labs.

Max
Click to expand...
out of that comprehensive list of DI'S that you mention I was using the Behringer ($30 bucks !) for a little while,and I was quite impress with it for what it cost.however I wasn't and never have been impressed with the SansAmp doo-dad but lately I've been using a Avalon U5 which is a stellar DI/preamp.
 
#148
maxvalentino said:
Most of the DIs mentioned here feature some sort of tone sculpting, be that eq, amp emulation or sonic enhancement, and they all feature parallel outputs, both balanced (to send to a mixing desk) and unbalanced (which can go to your amp, thusly sending whatever sonic ecoutrements the device holds onto the preamp section of your amplifier).

Some DIs, such as the Countryman Type 85, although are active, feature no sonic "add ons" and simply change the high impedence output of your bass to a low impedence signal which can be managed by mixing boards. Others, like the ADL and Retrospec Juice Box are tube based, and carry the sonic "signatures" of the tube stage(s), but offer no other sound sculpting options.

Most amps do now feature balanced outputs, or DI outs. So what is the big deal? Amp makers usually add these on as a sort of "bells and whistles" gimmick to their amps. Consider: amps makers design amps not around what features musicians want and/or need, but rather around price points and profitability. A high quality DI(and here I am speaking of the coverted "studio quality" units) can cost from $400 to several thousand dollars (my ADL DI runs about $1700, the Avalon U5 is $595...I believe Manley makes a tube DI which runs around $5000.00).

Think about it, can an amp maker really aford to jack up the price pont of their amp that much to add a high quality DI to it's featurtes? The answer is no. This is why dedicated DIs are highly specialized and sought out. Most DIs which are on amps, like compressors on amps, are inferior designs with poor sound quality. Many of the "budget" DIS also use lower quality transformers or op amps in their design. Ceratinly, either of these are efficient enough for running a to a PA in a club where noise and signal integrity are not relevant factors, but in the studio running a DI from the back of one's amp is most certainly NOT the way to go.

Some DIs, like the SansAmp, impart their sonic signature on the signal in a rather obvious way, while others are more "transparent" (and usually much more expensive). Neither is "right" or "better" as many players get wonderful results thru SansAmps AND units such as the Evil Twin or Avalon U5. I know players who get great results using the same DI you have on your Eden amp, tho I personally have never felt that the Eden DI is either quiet nor particularly "studio-quality". The point is to find what works for you. If you gig a lot, find a DI which is sturdy and reliable (which is why the Countryman is an "industry standard"), and deliers the same sound night anfter night. If you have a home studio, you might want to lookl into some a bit more specialized.

I do a lot of studio work, and usually I rely on what the studio has, and what the engineer wants, for my bass tracks. Engineers, at least GOOD engineers, make their livlihood knowing about things such as this, and they have spent the time to find what works for them in their situation (as I have suggested for you to do in yours). Certainly I take my Avalon with me (tho most studos have these now), but if the engineer wants to run my signal thru some ancient RCA broadcast limiter as my DI, who am I to argue?
(btw, those ancient RCA broadcast limiters DO sound great with bass...but you could buy a new car for what they cost!!)

I have a Baggs ParaAcoustic DI and like it very much, I also have the Fishman Platinum Bass and like it very much also...and there are about 25 other DIs I own, and like and use for different purposes.....but before you go and drop your money on one, you should try it out and see if it is really what you might need. While you are at it, try a few different DIs by running into a "flat" PA or recording setup; then thru your amp. Find what is right for you. If you are looking for something to enhance your tone, perhaps a DI is not the ticket...maybe an EQ or Mic pre is....better yet, consider the source; if your bass sound needs enhancement, perhaps the tone off your bass is not all it could be. New PUs? New onboard electronics? New bass?

There are always those options to look at.

Hope that helps....
Max
Click to expand...
Very astute,and informative.
 
#149
maxvalentino said:
My thoughts on the JDI, and the Avalon U5, are of course completely subjective..but nontheless....

.... the JDI is a great DI, but for most gigging situations it is overkill. The same can be said about the U5, too. For me, I use my Avalon mostly as a preamp. I can take it, a Stewart power amp and a 1x12 cab and handle just about any gig. It's dimensions are a bit odd, but I kinda like the aesthetic of the Avalon, unracked, sitting atop my cab. It reminds of of pics of Anthony Jackson with his his Krell power amp atop his epifani cab...a cool, clean look. And, the sound as a preamp is KILLER.

For a DI, tho, both units ,and their incredible audio, are lost on most club PAs. Face it, if you are playing a lot in clubs you know that house sound systems, no matter how good they might claim to be, leave a lot to be desired in the realm of high fidelity. The sonic qualities of both of these are lost in most "battle" situations.

So, ask yourself what you need the DI for. If you are doing a lot of recording, be it in your home studio or project sessions, then either would be excellent. If you are a gigging musician, you might want to opt for something a tad less expensive..and very sturdy. Though we all try to care for our gear, those shows where you have to strike your stuff as another band is setting up..or you gear is struck by whatever stagehands/friends are around..well, other people don't care about the shape of your gear as much as you. One reason Countryman 85's are a "standard" for live sound is their rugedness; you cannot break them...no matter how hard you try.
DIs take a lot of stage abuse........

If you are trying to get into session work, don't expect to gain many points by having high-end DIs in your gig bag; most studios have those same ones...and even higher-end ones, which they will much prefer to use, as they are well aware of their idiosyncrasies, and of the condition of their units (scatchiness...loose connects...batteries etc.)
I have been doing sessions for some time, so I can kind of get away with having my own "toys", but I still will defer to the engineer's decision on what DI, mic, or preamp to use on a track. I only unpack my stuff if the engineer asks for it..otherwise it is their call.

That $500 ballpark is a lot spend on a DI. I am not trying to talk you out of it though. If you do decide to get a JDI, I am sure you will be pleased....but you might want to get another DI just for club use, and keep the JDI (or Avalon) for recording.. or small venues where you are not running thru a PA and can use them as either a pre (Avalon) or a buffer amp...where both really shine!

And...to throw another wrinkle your way...the Raven Labs APD1 is another killer DI with a wonderfully rich and clear sound..and built like a tank. Dual inputs, outputs switchable from -20 to +4 (nice!) and a sidechain aux loop (for fx or a seperate phones mix...)battery or AC opertation and it's around $250.
Right now my solo gigging rig consists of a Raven Labs PMB1 as my main preamp, a Raven Labs MDB1 for mixing the signals from 3 basses, a Raven PHA1 preamp as the preamp for tone and gain of my loops, and a Raven Labs APD1 as the DI.
fantastic sound......worth looking into.

Max
Click to expand...
I've been using the Avalon for live settings Max and I have to say that this is proably the best tone I've ever had in a live mix,however I will agree with you that $500 bucks is expensive(I bought mine used : $375) and that the Countryman would be the way to go just for its durability alone and it also sounds killer in a live mix.
 
#150
maxvalentino said:
Congrats on that Bob! You have made a very "sound" investment.

When you move a bit past "consumer" audio and into the realm of "hi-fi" or audiophile units, a whole new sonic spectrum opens up. Those devices are what you pay for in high studio costs.
Pricewise, the U5 is at the bottom of the this elite neighborhood, but it is an incredible tool, with a massive sound. Even tho it is "pricey" for a DI/pre, I still think it is one of the best bargains available. You get a whole lot for that price.

So now you are hooked...remember with a signal chain your sound is only as strong as the weakest link. In other words don't run that Avalon thru some Digitech device with stock GC cabling!

For what it is worth...last night I recorded my bass thru a new Millenia Media Preamp ($5k!!)with TaraLabs cables...it made the Avalon sound pale!
Now how do I convince the wife to give me $5k........

Congrats again,
Max
Click to expand...
Max you're KILLING ME MAN !. :D anyway I did get to use the Avalon U5 with TaraLabs cables this past weekend,and I was speechless to say the least just with the change in cable alone so I the Millenia was way out there.
 
#151
Quite an interesting topic here...

I'm a gigging bassist myself; I play a nice SVT-3 PRO amplifier and the overdriven sounds I get from it are just plain fantastic. The sound of my dreams imho. Anyway, it sounds great through my cabinet and the sound in the studio is very good in the studio with decent microphones.

But I'm having problems on stage. We gig a lot. PA-guys mostly want to use there own DI's. But that way my sound is clean in the room, although my amp sound is overdriven. I don't like that at all.
The SVT-3 has a DI-out by imho it sucks. A lot. The overdriven tone is very very harsh, very ugly.

I'd like to know what DI gives me the best reproduction of an overdriven SVT-3 Pro???
 
#154
Phyrexian said:
Quite an interesting topic here...

I'm a gigging bassist myself; I play a nice SVT-3 PRO amplifier and the overdriven sounds I get from it are just plain fantastic. The sound of my dreams imho. Anyway, it sounds great through my cabinet and the sound in the studio is very good in the studio with decent microphones.

But I'm having problems on stage. We gig a lot. PA-guys mostly want to use there own DI's. But that way my sound is clean in the room, although my amp sound is overdriven. I don't like that at all.
The SVT-3 has a DI-out by imho it sucks. A lot. The overdriven tone is very very harsh, very ugly.

I'd like to know what DI gives me the best reproduction of an overdriven SVT-3 Pro???
Click to expand...

I got an idea! Get your self a signal splitter (not just a Y cable) split your bass signal, send one of them to your rig and the other to say a Sans Amp or Something, dial in a decent OD and send that DI out to the house. Granted it won't be what is coming out of your cab, but its better than the DI out on your amp or the clean tone going to house. That is one solution, though it may or may not be what you want.
 
#155
Phyrexian said:
Quite an interesting topic here...

I'm a gigging bassist myself; I play a nice SVT-3 PRO amplifier and the overdriven sounds I get from it are just plain fantastic. The sound of my dreams imho. Anyway, it sounds great through my cabinet and the sound in the studio is very good in the studio with decent microphones.

But I'm having problems on stage. We gig a lot. PA-guys mostly want to use there own DI's. But that way my sound is clean in the room, although my amp sound is overdriven. I don't like that at all.
The SVT-3 has a DI-out by imho it sucks. A lot. The overdriven tone is very very harsh, very ugly.

I'd like to know what DI gives me the best reproduction of an overdriven SVT-3 Pro???
Click to expand...
Sorry if this is the dumbest post in this thread, but why don't you just make the PA-guys mic your stack up? I bet the guitarist is getting a mic, so why shouldn't you? The way you describe your sound, it looks like half of it is due to your amp and cabs, so DI'ing your bass only get's half of your sound. I always make the PA guys mic my cabs because overdrive and distortion sounds horrible through DI's (hence the speaker simulation on DI with overdrive like the SansAmp and EBS).

If mic'ing is out of the question I guess the SansAmp or the Microbass II is the way to go, or maybe the DI wizards lurking around in this thread has some tricks to help you out.
 
#158
Droog said:
I got an idea! Get your self a signal splitter (not just a Y cable) split your bass signal, send one of them to your rig and the other to say a Sans Amp or Something, dial in a decent OD and send that DI out to the house. Granted it won't be what is coming out of your cab, but its better than the DI out on your amp or the clean tone going to house. That is one solution, though it may or may not be what you want.
Click to expand...


LOL :D :D :D
No need for a signal splitter. The Sans Amp has a parallel out (unaffected tone) to send to your amp. The XLR out goes, affected (thus with EQ and drive) to the PA...

hehehe
 

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