I get that! I’ll drift away every now and then but am always massively impressed plugging back in to a BDDI.
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Joining in! I used to have BDDIs (v.1, programmable), later on 2 RBIs in the rack – and now this beauty, set up for a grand piano open strings tone.
After trying/owning several variants (PBDDI, RBI, VT Bass, VT Deluxe) now sporting a BDDI v2 (just so handy, simple, effective) and more recently a beat up old PBDDI. Had a buddy add a parallel thru, and it's lined up with a Union Tube and Transistor LAB, and a tuner. Great sounding little setup for some warmth, some dirt, and some boost.
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I also use a parallel thru, which for me is essential to get the tone I love. I always blend in some pure dry signal from the bass (active, but onboard preamp section usually off). It preserves the punch and transients, no matter what PA guys do to the wet signal at the console (and we know that not once, not twice they do terrible things with it 
). In this role my old passive JDI box has got no competition. From the Thru output on the JDI the wet signal begins with a multiband compressor set up at a ratio of 4:1 for lows and mids, just to smooth things out, but 6:1 for highs to bring out some strings' artifacts which I think sound super cool on a fretless.
What's really important to me is that in the TonePrint app I've set ONLY ONE function to the knob, which is the level (volume compensation, without changing the compression parameters). Judging by the comments, people often don't realize that in TonePrint you can assign 3 different functions to the knob, and that they work SIMULTANEOUSLY (so if for example you have level as the first function and threshold as the next one below, by operating the knob on SpectraComp you change level AND threshold at the same time). In many cases it causes serious problems, like people are unable to set up unity gain level (the same signal volume level when the comp is on and off), and some even say it was a deal breaker for them, which is crazy, 'cause it's just a 1-minute fix.
I've found out that my XB Driver plays so much better with a multiband compressor in front of it, it becomes beautifully detailed and nuanced, but at the same time the low end remains tight and powerful. If I record in DAW I run two separate signals, wet and dry, and blend them to taste. Sometimes when I feel like it might help in the mix, I copy the dry signal and process the lows and mids separately with parallel compression. When I go live I prefer to plug in the XBD straight to the power amp input of an amp (if there is one) from the 1/4 out and both XLR outs from SansAmp and JDI to the console. Sometimes it's a 50:50 mix, and sometimes dry signal is better off when it's just barely there, but I fight for it like a lion!
). In this role my old passive JDI box has got no competition. From the Thru output on the JDI the wet signal begins with a multiband compressor set up at a ratio of 4:1 for lows and mids, just to smooth things out, but 6:1 for highs to bring out some strings' artifacts which I think sound super cool on a fretless.What's really important to me is that in the TonePrint app I've set ONLY ONE function to the knob, which is the level (volume compensation, without changing the compression parameters). Judging by the comments, people often don't realize that in TonePrint you can assign 3 different functions to the knob, and that they work SIMULTANEOUSLY (so if for example you have level as the first function and threshold as the next one below, by operating the knob on SpectraComp you change level AND threshold at the same time). In many cases it causes serious problems, like people are unable to set up unity gain level (the same signal volume level when the comp is on and off), and some even say it was a deal breaker for them, which is crazy, 'cause it's just a 1-minute fix.
I've found out that my XB Driver plays so much better with a multiband compressor in front of it, it becomes beautifully detailed and nuanced, but at the same time the low end remains tight and powerful. If I record in DAW I run two separate signals, wet and dry, and blend them to taste. Sometimes when I feel like it might help in the mix, I copy the dry signal and process the lows and mids separately with parallel compression. When I go live I prefer to plug in the XBD straight to the power amp input of an amp (if there is one) from the 1/4 out and both XLR outs from SansAmp and JDI to the console. Sometimes it's a 50:50 mix, and sometimes dry signal is better off when it's just barely there, but I fight for it like a lion!
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The complete setup with XB Driver on a brand new Gator pedalboard 
I love this preamp, but now I know that it needs a lot more patience than all the gear I've owned over the years. A slightest change on one knob can result in something different –not just different, but totally different. And there are 15 of them. Possibilities to discover are endless, but if you're looking for an instant result, I guess you can be frustrated or disappointed. To me it rather resembles an analog SSL console than a BOSS stomp box: you know there's one-of-a-kind sound machine in front of you, unlike anything else on the market... yeah, but where's the frickin' manual?!
I love this preamp, but now I know that it needs a lot more patience than all the gear I've owned over the years. A slightest change on one knob can result in something different –not just different, but totally different. And there are 15 of them. Possibilities to discover are endless, but if you're looking for an instant result, I guess you can be frustrated or disappointed. To me it rather resembles an analog SSL console than a BOSS stomp box: you know there's one-of-a-kind sound machine in front of you, unlike anything else on the market... yeah, but where's the frickin' manual?! What is your experience with the Sub-sonic filter?The complete setup with XB Driver on a brand new Gator pedalboard
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Btw: I like your pedalboard!
Thanks! If you mean using a hpf in general I find it really useful pre-compressor. The sound is noticeably tighter even on headphones. If you meant the Chaos filter in particular, it works well and seems to be well built. It's a radical one with 36db/oct at 30Hz. I wasn't sure I want that steep slope, but I compared it with an adjustable 12db/oct filter and this one had much better effect on the sound. The B string detuned to low C is still mighty and even more grand piano-like without the excessive lows.
THX for the reply. I meant the Chaos filter in particular.
I haven't been aware of the Chaos manufacturer and it's products.
Their Sub-sonic filter seems to be similar to Thumpinator...
This could be a copy (or re-interpretation
) of the Thump, because it has very similar parameters and construction. On the other hand it is assembled in Poland in their custom shop and the finish looks very nice, not like some cheap gear I've seen here and there. It is heavy for its size and feels like it could withstand a small nuke blast.
I'm a minimalist and the XB has everything BUT a tuner...DI, OD, HPF / LPF. If these functions are falling short and require addt'l peripherals, I'd be considering a different keystone.
Riis
Correct.This could be a copy (or re-interpretation
Btw, do you know (based on your dealings with the manufacturer) what's the unit's input impedance?
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I don't have XB driver myself (yet) so I can't comment on the quality of the particular compressor.
I just know that compression is very subjective: what one loves, other player might dislike.
IMHO, one needs to take into consideration the limitations. It's a single-knob compressor. It cannot provide the same level of control and flexibility as full-featured compressor. That being said, I assume that it might work sufficiently well...especially if it is used just for the low frequency range in crossover mode...
I guess you shouldn't look at the comp on XBD compared to TC Spectra like this:
In reality it's more like this:
The one on the right looks like work and I won’t have any part of that.
If everything on the XB functions reasonably well, it would almost pass as a stand-alone fly rig. Where’s the *&$# tuner?!?
Riis
Tweaking compressor parameters in TonePrint is a challenge, but so is setting up the XBD to achieve 100% the effect you're looking for.
For me those challenges are pure joy and the important part of the bass 'business'. I really prefer the XBD to be all-analog and I love the polytune, so I'm really glad @tech21nyc made it the way they did - I will never let it go and I swear one day I'm gonna get en extra one for backup. The rest of the gear can be digital, I don't care. There are phenomenal digital pedals like BOSS DD or TC stuff. But the XBD being fully analog really gives it that state-of-the art vibe like the SWR Mo'Bass head I used to have for some 15 years. It's just unique.
@Zbysek I've no idea, I can send them an email and let you know
I already did and they have just replied that the input impedance is 1MOhm...@Zbysek I've no idea, I can send them an email and let you know
THX
If anyone is looking for a mint Street Driver 48, get in touch. I need to finance something else and I get more use from my RBI and GED.
Anyone know what the availability of the DI 2112 is? I haven’t seen new ones available recently. Are there production delays or has it been discontinued, or is my Google broken?
