As silly as this question sounds, I have never felt a super compelling need to have one of these, but a lot of people seem to like them. Perhaps I am missing something. Post in thread, whats your favorite DI/Premap? What do you use it for?
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How useful is a DI/Preamp pedal?
- Thread starter Ethan Block
- Start date
I use on of these two preamp/DIs:
- Sansamp BDDI Programmable
- Darkglass Vintage Ultra v2
I use them as my main tone shapers, instead of an amp head.
Let's look at usage situations:
- Headphone practice, alone or in a group: I go direct out to from the XLR to the mixer.
- Recording into a DAW: I go direct out to from the XLR to the audio interface.
- Playing with a band: I bypass the preamp of my amp head by sending the 1/4 out of the preamp/DI to the effects return of my amp head. I then use my amp head as a power amp. I send the XLR out to the board. If you're using a provided backline and the amp head has no effects return, you can get a usable tone going into the amp head's input.
I can get my tone in all situations while always having a high quality XLR DI, and they're pedals so they're portable. I use a small class D head which is also portable and lightweight.
That's pretty useful.
- Sansamp BDDI Programmable
- Darkglass Vintage Ultra v2
I use them as my main tone shapers, instead of an amp head.
Let's look at usage situations:
- Headphone practice, alone or in a group: I go direct out to from the XLR to the mixer.
- Recording into a DAW: I go direct out to from the XLR to the audio interface.
- Playing with a band: I bypass the preamp of my amp head by sending the 1/4 out of the preamp/DI to the effects return of my amp head. I then use my amp head as a power amp. I send the XLR out to the board. If you're using a provided backline and the amp head has no effects return, you can get a usable tone going into the amp head's input.
I can get my tone in all situations while always having a high quality XLR DI, and they're pedals so they're portable. I use a small class D head which is also portable and lightweight.
That's pretty useful.
I don't own one but I think one would be extremely useful If I gigged without an amp. I have done gigs on big fest stages a couple of times where I ran through the monitors. The experience would have been a lot better if I had a preamp so I could dial in a sound and bump up the gain in the middle of the set when the monitor tech started working his magic with the quad 15 drum fills/monitors. Also useful for a fly rig if one travels to do gigs and uses IEMs for monitoring.
That's another very useful aspect of preamp/DIs. IEM-only gigs.
A preamp pedal's usefulness varies from 'I have everything I need in my amp head' to 'It's all I use to shape my sound'.
I run a Sansamp Programmable BDDI. Most of the times, I run it with the flattest settings possible from the 1/4 out into my amp and take the DI signal from the amp's head. Even set like this, there is a difference in tone that pleases my ears. If I didn't bring my amp, I use more sculpted tones and go into the FX return from the provided amp (or go directly into the board, whatever applies).
I run a Sansamp Programmable BDDI. Most of the times, I run it with the flattest settings possible from the 1/4 out into my amp and take the DI signal from the amp's head. Even set like this, there is a difference in tone that pleases my ears. If I didn't bring my amp, I use more sculpted tones and go into the FX return from the provided amp (or go directly into the board, whatever applies).
I use a preamp pedal sometimes, like on fly gigs where I don't want to bring several pedals because all I need for the PA is a clean sound, a couple overdrive choices, and speaker simulation to make the PA sound more in line with my favorite Ampeg cabs. Or if I'm using a second bass that sounds different from the first. My usual choice for fly gigs is the Tech 21 VT Bass Deluxe, and I usually use a little Ampeg Classic preamp pedal for a second bass when I bring one, which is rare.
DI/pre is useful for overcoming the short falls of you're existing head/ preamp, been there & done that. I am probably crazy with this strange notion,but, just maybe a decent preamp(with inbuilt DI out) & a good power amp will give more than tripping over add on pedals that color the sound, when enjoying a vigorous gig, IME.
You'll have more time to concentrate on your playing & groove.
Just to echo what others have said, as long as you have a decent DI and preamp built into your head, then there's no real need to have any of those elements outboard.
While there's no need, preference is a completely different matter. As with any pedal, I'm of the mind that it isn't needed... until it is - basically don't bother with it unless you've actively noticed something that's missing or that you'd like to change. Solutions looking for problems are a distraction at best, and can be detrimental at worst. K.I.S.S.
As for my personal use of an outboard DI/preamp, I do use a Tech 21 VT Bass DI along with my GK 1001RB amp that already has a great preamp and DI built in. I use the pedal as a tone-shaper both for its tube-ish emulation, which I like, as well as its cab sim.
The signal from my VTDI goes to my amp's input, and then I'll typically use the DI on my amp in "pre" mode, but with that VTDI flavoring included, to send to the PA. I then have my amp's EQ to mess with as I see fit on stage for monitoring purposes, while not affecting the house's mix.
While there's no need, preference is a completely different matter. As with any pedal, I'm of the mind that it isn't needed... until it is - basically don't bother with it unless you've actively noticed something that's missing or that you'd like to change. Solutions looking for problems are a distraction at best, and can be detrimental at worst. K.I.S.S.
As for my personal use of an outboard DI/preamp, I do use a Tech 21 VT Bass DI along with my GK 1001RB amp that already has a great preamp and DI built in. I use the pedal as a tone-shaper both for its tube-ish emulation, which I like, as well as its cab sim.
The signal from my VTDI goes to my amp's input, and then I'll typically use the DI on my amp in "pre" mode, but with that VTDI flavoring included, to send to the PA. I then have my amp's EQ to mess with as I see fit on stage for monitoring purposes, while not affecting the house's mix.
DI/Preamp pedal is critical for me. I almost always play on provided backline (used only as monitor) and need to have option of tweeking sound on a song-to-song bassis, just before soundman takes DI signal. So I have a small pedalboard, and most important part is DI/Preamp.
I use Seymour Duncan Paranormal, it has simple 3-band EQ and two switches with three posible states: true bypass, activate EQ, and slap switch. That covers everything I need.
I use Seymour Duncan Paranormal, it has simple 3-band EQ and two switches with three posible states: true bypass, activate EQ, and slap switch. That covers everything I need.
I have lately been plugging directly into my amp, but it's good if you want a different preamp sound or overdrive that your amp doesn't have. It's also useful if you're at a venue and you have to use their back line and don't like what they have, or need an overdrive sound. I still have my Vintage Deluxe and probably won't get rid of it for that reason. I know anywhere I go I can get a sound that works for me if I can't use my amp.
Depending on how you count, I've got 7. So yes, I would say that I find them very useful!
Put them in front of provided backline (or rehearsal room rigs) to give a good signal to the PA
Bypass a provided amp's unsatisfactory preamp
Add a different flavour to a rig (different basses, picks vs fingers etc)
Go straight to PA for ampless gigs
Straight to FRFR cabs as an amp replacement
Generally just to provide a familiar feel wherever you go
A mate of mine came to me to help him find a rig for £500 recently. We spent £210 on an Ashdown MAG head and 4x10" and around £150 on a little board with a Sansamp and a tuner. We're probably getting a better sound to the audience this way than if we'd spent the whole budget on an amp.
Put them in front of provided backline (or rehearsal room rigs) to give a good signal to the PA
Bypass a provided amp's unsatisfactory preamp
Add a different flavour to a rig (different basses, picks vs fingers etc)
Go straight to PA for ampless gigs
Straight to FRFR cabs as an amp replacement
Generally just to provide a familiar feel wherever you go
A mate of mine came to me to help him find a rig for £500 recently. We spent £210 on an Ashdown MAG head and 4x10" and around £150 on a little board with a Sansamp and a tuner. We're probably getting a better sound to the audience this way than if we'd spent the whole budget on an amp.
That's a really good point. Depending on your location and the places you play, the audience may never actually hear your cab and at least the power section of your amp. For 95% of the shows I've done in the last few years, that's been the case. So if you're strapped for cash, invest in a good preamp/DI and then just get something as a stage monitor. However when I was in college, all of those venues only used the PA for vocals. So the amp you brought was all of your bass sound.
I'm a big proponent of the Ampeg SCR-DI into a Quilter BB800 (honeymoon phase STILL going on with this amp!).
I get the best of both worlds- that Ampeg Warmth and "bigness", and the Quilter's near death-grip tightness on the drivers.
Its a very big 3D, almost larger than life sound to me.
I'm also a big proponent of the Tronographic Rusty Box preamp too!
This one doesn't have the depth that the SCR-DI has, but it isn't meant to be that way. It sounds like crap with my P-bass, but is a dream of growling goodness with my Yamaha BBN4 (with J-style, passive PUPs). I call it a "broken G-K" sound, because it has the grit and grind similar to an RB400/800, and yet isn't as tightly controlled as that. To my hands responds like a Mesa amp (those of you who double on guitar will know what I mean)- the note "blossoms" to life, almost like a tube amp with serious sag.
I also use an MXR-M81, but only as a volume boost for my Yamaha to my compressor and SCR-DI, as it is not as hot as my P-bass (if I'm only using the Rusty, then I usually don't compress it or use the MXR to boost).
So, to answer your question, that's why...
I get the best of both worlds- that Ampeg Warmth and "bigness", and the Quilter's near death-grip tightness on the drivers.
Its a very big 3D, almost larger than life sound to me.
I'm also a big proponent of the Tronographic Rusty Box preamp too!
This one doesn't have the depth that the SCR-DI has, but it isn't meant to be that way. It sounds like crap with my P-bass, but is a dream of growling goodness with my Yamaha BBN4 (with J-style, passive PUPs). I call it a "broken G-K" sound, because it has the grit and grind similar to an RB400/800, and yet isn't as tightly controlled as that. To my hands responds like a Mesa amp (those of you who double on guitar will know what I mean)- the note "blossoms" to life, almost like a tube amp with serious sag.
I also use an MXR-M81, but only as a volume boost for my Yamaha to my compressor and SCR-DI, as it is not as hot as my P-bass (if I'm only using the Rusty, then I usually don't compress it or use the MXR to boost).
So, to answer your question, that's why...
Played an outdoor gig last night.
Ran my set up through a Tech 21 Sansamp VT Bass Deluxe.
Fed the XLR out to the board.
Did sound check starting with my amp all the way down. PA mix sounded great. Got all my effects and the tone was killer.
Upped the amp volume for the drummer's sake as the show progressed.
Comments that we keep sounding better each time we play.
Ran my set up through a Tech 21 Sansamp VT Bass Deluxe.
Fed the XLR out to the board.
Did sound check starting with my amp all the way down. PA mix sounded great. Got all my effects and the tone was killer.
Upped the amp volume for the drummer's sake as the show progressed.
Comments that we keep sounding better each time we play.
I was occasionally using a Sansamp BDDI V2 into the power section of a Quilter BB800. Worked great, but that was my backup rig and was not used often. I've now sold it and bought a second WW green light stereo as my backup (same as the main rig). The WW's do everything the BDDI/Quilter could do and much more.
Nonetheless I have a Marleaux Tonwerk Preamp/DI for possible use with the WW when I need a reliable DI. It's a great unit but I doubt I will use it much, so it may be for sale soon too.
(I'm generally an old-school guy: fingers>strings>pickup>amp>speaker(s).)
Nonetheless I have a Marleaux Tonwerk Preamp/DI for possible use with the WW when I need a reliable DI. It's a great unit but I doubt I will use it much, so it may be for sale soon too.
(I'm generally an old-school guy: fingers>strings>pickup>amp>speaker(s).)
Just to second the different basses idea with one DI - more recently on gigs I've been using my 4-string passive Rick along with a 5-string active Yamaha. I found the eqing so radical from one bass to the other on my GK amp to have them sound good. If I was doing this switch mid-set, it would be a nightmare no one would want. With a DI, I've found the only switch I need to make is an adjustment on the mid control and quick adjustment on my compressor gets me there quite quickly.
Besides the great tone received from the DI, this feature is an added bonus.
Besides the great tone received from the DI, this feature is an added bonus.
Essential for me. I record with it, plug amps from it, at the end of my pedalboard it's the master volume and tone. If I play a gig I have a DI that has all of my tones and fx ready for FOH. Really it's essential for me to have a high quality DI.
