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Discussion in 'Amps and Cabs [BG]' started by Jeff Scott, Apr 11, 2015.
Has anyone here got experience with this DI/preamp?
Hmm, nobody has heard of this DI?
I actually have one..
It is an extremely versatile DI/Preamp, both in the studio and live. Two separate outputs with separate level controls, ground switches, input gain, EQ bypass.
You can send one to FOH mixer, one to your power amp or effects loop of the amp supplied at the venue. Or if you're recording, you can do parallel compression by going one channel direct to the converter and one channel to your compressor to the converter....
You can get hifi clean sound with the EQ bypassed, once you engage the EQ in, even flat, it brings a different character, more amp-like.
I hope this helps...
Thanks! Seems like you have the only one made. They look really well built with a great feature set. From your experience it looks to be quite versatile, which is a good thing as these are kind of pricy. Thanks, again.
To me, for what it does, it is reasonably priced, but I hear you
Pricy for a DI, yes.... but for a high end preamp that sounds great and gives you a lot of control, it's really not..
And, that is the enticement, right there.....
Here's a video I made..bass through tonecraft 363 eq bypassed into rme babyface no eq or compression into imovie....
Well known amp tech here's business was called Tonecraft.
Not the same guy though. He passed away several years ago.
Thank you!!! Now, I have to find a way to pay for one. I very much appreciate your doing this.
Any other users have gig or studio experiences? Thx.
from the tube section looks based on a b15. 6sl7 and 6sn7 tubes. bax tone circuit. looks nice except that transformer is TINY!!! half the sound is the iron and there's no input tranny either, no go from me. IRON ADDICT
Well then, the REDDI is your man DI; I assume you already have one?
I've owned 2 of them, the sonic signature isn't my thing. Plus it can't overdrive or drive a power amp.
Had the summit which was okay, I'm currently debating between tab funkenwerk v71 or universal audio 610. Both have lots of big iron and tubes.
The tonecraft looked nice and has a lot of great features. But that little teenie cinemag trannie is such a shame.
I had a LA-610 Mk II for a while. Very nice but more than I needed for a non recording bassist, these days. I like to judge things with my ears instead of my eyes, so I may persue this preamp one of these days.
You're right Jeff, I should give this a shot as well might sound good.
Just curious: have you ever tried an "iron" transformer vs a high-nickel one in the same circuit? Iron is actually a dirty word in some circles, but as always, it's all about tradeoffs.
i've tried both. iron is very popular in pro sound applications in studios, not a dirty word at all. but i also know transformer size is relatively equivalent to low end output. hence why playing a tiny terror with bass gives you no low end, the Trannies are tiny regardless of cabinet.
If you like your transformers gigantic and expensive, high-nickel is your material.
I'd be wary of judging a circuit by its transformer as there are lots of ways to skin that particular cat. You need to look at the circuit as a whole. The reason things like the REDDI (or my little one) have such large output transformers is that they are using the transformer primary as the plate load for the tube (as opposed to a resistor) and it has to pass DC current. This necessitates a much larger core than for an equivalent transformer that doesn't need to pass DC current because the DC tends to saturate the core. In order to stop that they put an air gap between the primary and secondary windings. This allows the DC to pass without saturating the core but weakens the coupling between the windings, which means the core needs to be bigger to achieve good LF response. This is why circuits with parallel feed outputs (i.e. capacitor coupled to the transformer, no DC through the primary) can get equivalent frequency response and output level with much smaller transformers. Another way to skin the cat is to use a push-pull output stage, where the DC plate supply is fed to a center tap on the primary side of the transformer and fed to either end of the winding. This effectively cancels out the field created by the DC current in the primary and enables a smaller transformer core than in a single-ended circuit. Personally, I like the way a single-ended tube circuit with a transformer plate load sounds, but there's more to the story than just the transformer: There are substantive and audible differences between the behaviour of transformer and resistive plate loads.
tl:dr A-Designs didn't put such a big transformer in the REDDI "just because," the circuit they used demands a large transformer compared to other circuit topologies.
The internal layout of the Tonecraft DI is gorgeous, BTW, and I bet it sounds like a million bucks.