Tube Preamp/DI Sound Samples — Noble, Oracle, P-15, Super Stack, REDDI, Tonecraft, Jule...

Edited by a moderator December 29, 2022

Here are sound samples of several Tube Preamp/DI boxes. Since I have these on hand I figured I should put something out there for people to hear each of them. I am not a sound engineer... but hopefully these clips will be beneficial. I will admit this isn't perfect. If nothing else, it is a good start and I am open to recording more clips.

The devices recorded
1. Noble
2. Arkham Oracle
3. Broughton P-15
4. Broughton Super Stack pedal
5. Sushi Box Particle Accelerator
6. Retrospec Squeezebox
7. Khan vs. RNDI
8. Groove Tubes The Brick
9. Teegarden Fat Boy
10. A Designs REDDI
11. Sonic Farm 2DI4
12. Tonecraft 363
13. Broughton SSDI
14. Broughton SSDI vs. Broughton P-15
15. Useful Arts BF-1
16. Eclair Evil Twin
17. Ampeg SVT DI
18. Shaw Audio Tube Injection
19. Sushi Box Slampegg Bee
20. Zod ID DI
21. Jule Simone
22. Sushi Box Slampegg Bee X
23. Jule Monique
24. Mozztronics DI-2
25. Markbass Vintage Preamp
26. Lightning Boy DiVision
27. WRA Goliath
28. Lightstone Emperor
29. JT Amplification Alpha
30. Sushi Box finally Tube Direct Box
31. Khan VTDI
32. Crucial Audio DUB-1
33. KAOS DI/Preamp


Bass used
Sadowsky NYC Jazz with Sadowsky humcancelling pickups. Bass was set flat with EQ all the way counterclockwise. Vintage Tone Control set approximately 50%. Strings are Sadowsky Blue Label Nickel's and about 2 weeks old with little play time on them.

Goal
To record each device set flat (or as flat as possible) and work through a variety of EQ configurations for people to hear a relatively wide range of inherent tonal capabilities.

Method
Since each of these devices has one or more tubes I let each warm up for at least 30 minutes before recording. All preamps used their integrated XLR out direct to board into Garage Band except for the Super Stack, Particle Accelerator and Oracle which do not have a XLR out. A Rupert Neve (RNDI) was used for these devices.

One riff was recorded and looped so there is no difference in each clip. With each device I recorded a flat session first. Then subsequent clips offer different EQ settings. Some devices offer more EQ configurations which is why there are more sequences in the clips. I.E. the Oracle

I did NOT capture the full sweep of the EQ on each device. That was beyond the scope of this exercise. Obviously you could slightly tweak dials to your hearts content all day.

There is a lot of talk about compressor pedals in front of preamps. One popular compressor often used is the Cali76 CB. Another is the Effectrode LA-1a. Therefore, I recorded two segments with each preamp/DI including the Cali and LA-1a. With each compressor, I had them set with lower compression ratio (4.1 for Cali and somewhere around there for the LA-1A). I also had the HPF on the Cali at roughly 3:00 which means the compressor was letting the compressor not react too quickly to lows. Again, you could certainly tweak all day and come up with a different flavor which is beyond the scope of this sample.

Hopefully I captured enough to help you come to your own conclusions about each device.

Maybe in the future I will add to this list.

Important
You must use good headphones. Not iPhone or Android earbuds. Not your Dre Beats with an inflated low end baked in EQ. Ideally you would use something with a flat sound stage that is capable of reproducing accurate frequencies across the spectrum.

To some degree we are analyzing subtleties here. On the other hand, each of these preamp/DI boxes offer a pretty wide amount of tone shaping.

Oh, I do realize the Retrospec Squeezebox isn't really considered a "preamp" per se. But in reality it is and people do use it as one. It has an XLR out (albeit mic level). It has tubes and has a tone control that is quite useful. You can engage or disengage the EQ section.

Let's dive in.

Note: Since polls are limited to 20 variables the poll was removed on January 13, 2021.

Noble



Clip 1: Flat (Bass and Treble all the way counterclockwise)
Clip 2: Bass 7:00; Treble 7:00
Clip 3: Bass 9:00; Treble 9:00
Clip 4: Bass 10:00; Treble 9:00
Clip 5: Bass noon; Treble noon
Clip 6: Bass 3:00; Treble noon; HPF switch ON
Clip 7: Bass 9:00; Treble 9:00; HPF OFF; Cali76 CB ON
Clip 8: Bass 9:00; Treble 9:00; HPF OFF; LA-1a ON


Arkham Oracle



Revised clip (see post #33)


Clip 1: Flat (All switches off in downward position and all dials at noon); Gain at 10:00
Clip 2: Bass 2:00; All others flat and all switches still in downward off position; Gain at 10:00
Clip 3: Bass 3:00; All others flat and all switches still in downward off position; Gain at 10:00
Clip 4: Bass 3:00; Mid switch ON; All others flat and all other switches still in downward off position; Gain at 10:00
Clip 5: Bass 3:00; Mid switch ON; Range dial 3:00; All others flat and all other switches still in downward off position; Gain at 10:00
Clip 6: Bass 3:00; Treble 9:00; Hi switch ON; Mid switch ON; Range 3:00; Low switch still OFF; HPF still OFF; Gain at 10:00
Clip 7: Bass 3:00; Treble 9:00; Hi switch ON; Low switch ON; Mid switch ON; Range at 3:00; Gain at 10:00
Clip 8: Bass 3:00; Treble 9:00; Hi switch ON; Low switch ON; Mid switch ON; Range at 3:00; HPF ON; Gain at 10:00
Clip 9: Bass 1:00; Treble 9:00; Hi switch ON; Low switch OFF; Mid switch ON; Range at 3:00; HPF off; Gain at 3:00
Clip 10: Same as above but Gain at 9:00
Clip 11: Bass at 1:00; Treble 9:00; Hi switch ON; Low switch OFF; Mid switch ON; HPF OFF; Range at 3:00; Gain at 9:00; Cali 76 CB ON
Clip 12: Bass at 1:00; Treble 9:00; Hi switch ON; Low switch OFF; Mid switch ON; HPF OFF; Range at 3:00; Gain at 9:00; LA-1a ON


Broughton P-15



Clip 1: Flat (Bass noon; Treble noon)
Clip 2: Bass 1:00; Treble noon
Clip 3: Bass 2:00; Treble 1:00
Clip 4: Bass 3:00; Treble 2:00
Clip 5: Bass 1:00; Treble 11:00
Clip 6: Bass 1:00; Treble 11:00; Cali 76 CB ON
Clip 7: Bass 1:00; Treble 11:00; LA-1a ON


Broughton Super Stack



Clip 1: Flat (Bass and Treble all the way counterclockwise; Mid all the way clockwise: Fender/Alembic Tone Stack)
Clip 2: Bass 9:00; All other FLAT
Clip 3: Bass 9:00; Treble 9:00; Mid FLAT
Clip 4: Bass noon; Treble 11:00; Mid FLAT
Clip 5: Bass noon; Treble 11:00; Mid 3:00
Clip 6: Bass noon; Treble noon; Mid 3:00
Clip 7: Bass noon; Treble 2:00; Mid FLAT
Clip 8: Bass 10:00; Treble FLAT; Mid FLAT; Cali 76 CB ON
Clip 9: Bass 10:00; Treble FLAT; Mid FLAT; LA-1a ON

In post #34 there was a comment about using the SuperStack with Bass EQ turned higher. Here's another sequence with the SuperStack recorded with the same riff but with Bass EQ trending higher.



Clip 1: Flat (Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise — Fender/Alembic tone stack)
Clip 2: Bass noon; Treble 9:00; Mid flat
Clip 3: Bass 1:00; Treble 9:00; Mid flat
Clip 4: Bass 1:00; Treble 10:00; Mid flat
Clip 5: Bass 2:00; Treble 10:00; Mid flat
Clip 6: Bass 3:00; Treble 11:00; Mid flat
Clip 7: Bass: 3:00; Treble noon; Mid flat
Clip 8: Bass 2:00; Treble 10:00; Mid flat; Cali 76 CB ON
Clip 9: Bass 2:00; Treble 10:00; Mid flat; LA-1a ON


Sushi Box Particle Accelerator
(Running on 12 volts)



Clip 1: Flat (Bass and Treble all the way counterclockwise; Mid all the way clockwise: Fender/Alembic Tone Stack); Gain 11:00
Clip 2: Bass 9:00; All other FLAT; Gain 11:00
Clip 3: Bass 9:00; Treble 9:00; Mid FLAT; Gain 11:00
Clip 4: Bass noon; Treble 11:00; Mid FLAT; Gain 11:00
Clip 5: Bass noon; Treble 11:00; Mid 3:00; Gain 11:00
Clip 6: Bass noon; Treble noon; Mid 3:00; Gain 11:00
Clip 7: Bass noon; Treble 2:00; Mid FLAT; Gain 11:00
Clip 8: Bass 10:00; Treble FLAT; Mid FLAT; Gain 2:00
Clip 9: Bass 10:00; Treble FLAT; Mid FLAT; Gain 11:00; Cali 76 CB ON
Clip 10: Bass 10:00; Treble FLAT; Mid FLAT; Gain 11:00; LA-1a ON


Retrospec Squeezebox



Clip 1: EQ/Preamp off; Just compressor and DI out; Compressor set at 3:1 ratio with average threshold clamping approximately 30% of the time
Clip 2: EQ/Preamp ON with EQ at 11:00
Clip 3: EQ/Preamp ON with EQ at 10:00
Clip 4: EQ/Preamp ON with EQ at 9:00
Clip 5: EQ/Preamp ON with EQ at 8:00

You will notice as the EQ is turned more counterclockwise the impression is more highs are being rolled off.


Khan DI vs. RNDI (Added July 22, 2020)



Khan DI first, then RNDI.


Groove Tubes The Brick (Added August 9, 2020)



Clip 1: Bass into The Brick
Clip 2: Bass into the Cali76CB into The Brick
Clip 3: Bass into the LA-1A into The Brick


Teegarden Fatboy (Added August 11, 2020)

Teegarden Fatboy

Clip 1: Bass into Fatboy
Clip 2: Bass into the Cali76CB into Fatboy
Clip 3: Bass into the LA-1A into Fatboy


A Designs REDDI (Added August 11, 2020)

REDDI

Clip 1: Bass into REDDI
Clip 2: Bass into the Cali76CB into REDDI
Clip 3: Bass into the LA-1A into REDDI


Sonic Farm 2DI4 (Added August 11, 2020)

Sonic Farm 2DI4

Clip 1: Triode mode; switches flat
Clip 2: Triode mode; Lo switch 1; Hi switch 0
Clip 3: Triode mode; Lo switch 2; Hi switch 0
Clip 4: Triode mode; Lo switch 0; Hi switch 1
Clip 5: Triode mode; Lo switch 0; Hi switch 2
Clip 6: Triode mode; Low switch 1; Hi switch 1
Clip 7: Triode mode; Low switch 1; Hi switch 2
Clip 8: Triode mode; Low switch 2; Hi switch 1
Clip 9: Triode mode; Low switch 2; Hi switch 2
Clip 10: Triode mode; switches flat
Clip 11: Pentode mode; switches flat
Clip 12: Pentode mode; Low switch 1; Hi switch 0
Clip 13: Pentode mode; Low switch 2; Hi switch 0
Clip 14: Pentode mode; Low switch 1; Hi switch 1
Clip 15: Pentode mode; Low switch 1; Hi switch 2
Clip 16: Pentode mode; Low switch 2; Hi switch 1
Clip 17: Pentode mode; Low switch 2; Hi switch 2
Clip 18: Triode mode; switches flat; Cali76 CB
Clip 19: Pentode mode; switches flat; Cali76 CB
Clip 20: Triode mode; switches flat; LA-1A
Clip 21: Pentode mode: switches flat; LA-1A
Clip 22: Triode mode; Low switch 1; Hi switch 2; Cali76 CB
Clip 23: Triode mode; Low switch 1; Hi switch 2; LA-1A

Note: there are other combinations possible but this is plenty to give you a good picture of the tonal diversity inherent to the 2DI4.


Tonecraft 363 (Added August 21, 2020)

Tonecraft 363

Clip 1: EQ off; Volume 11:00; Main Output 1:00
Clip 2: EQ on; Bass and Treble flat (noon); Volume 11:00; Main Output 1:00
Clip 3: EQ on; Bass 1:00; Treble 1:00; Volume 11:00; Main Output 1:00
Clip 4: EQ on; Bass 2:00; Treble 2:00; Volume 11:00; Main Output pulled back a little
Clip 5: EQ on; Bass Full on: Treble 3:00; Volume 11:00; Main Output pulled back some
Clip 6: EQ on; Bass and Treble flat (noon); Volume 11:00 with volume dial pulled out; Main output pulled back to compensate for gain boost
Clip 7: EQ on; Bass 1:00; Treble 1:00; Volume 11:00 with volume dial pulled out; Main output pulled back to compensate for gain boost
Clip 8: EQ on; Bass 1:00 Treble 1:00; Volume 2:00 with volume dial pulled out; Main output pulled back to compensate for gain boost
Clip 9: EQ on; Bass and Treble flat (noon); Volume 2:00 with volume dial pulled out; Main output pulled back to compensate for gain boost; Cali76 CB on
Clip 10: EQ on Bass and Treble flat (noon); Volume 2:00 with volume dial pulled out; Main output pulled back to compensate for gain boost; LA-1A on

Note: The Volume dial is the main gain control. The Tonecraft provides up to 36db of gain. The Volume dial includes a pull switch that shifts the signal into a higher gain range for added tube saturation and can get into a fuzzy state. The Volume dial is pulled out in clips 6 - 10.


Broughton SSDI (Added August 24, 2020)

SSDI

Note: This is a Fender tone stack.
Clip 1: Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise
Clip 2: Bass 9:00; Treble 9:00; Mids all the way clockwise
Clip 3: Bass 10:00; Treble 10:00; Mids all the way clockwise
Clip 4: Bass noon; Treble noon; Mids all the way clockwise
Clip 5: Bass 1:00; Treble 1:00; Mids all the way clockwise
Clip 6: Bass all the way counterclockwise; Treble all the way counterclockwise; Mids 3:00
Clip 7: Bass 9:00; Treble 9:00; Mids 1:00
Clip 8: Bass 11:00; Treble 11:00; Mids 1:00
Clip 9: Bass all the way counterclockwise, Treble all the way counterclockwise; Mids all the way clockwise; Cali76 CB on
Clip 10: Bass all the way counterclockwise, Treble all the way counterclockwise; Mids all the way clockwise; LA-1A on
Clip 11: Bass 9:00; Treble 9:00; Mid all the way clockwise; Cali76 CB on
Clip 12: Clip 11: Bass 9:00; Treble 9:00; Mid all the way clockwise; LA-1a on


Broughton SSDI vs. Broughton P-15 (Added August 24, 2020)

Broughton SSDI and P-15

Clip 1: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise
Clip 2: P-15 Flat; Bass noon; Treble noon
Clip 3: SSDI Bass 9:00; Treble 9:00; Mids all the way clockwise
Clip 4: P-15 Bass 1:00; Treble 1:00
Clip 5: SSDI Bass 11:00; Treble 11:00; Mids all the way clockwise
Clip 6: P-15 Bass 2:30; Treble 2:30
Clip 7: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids 2:00
Clip 8: P-15 Bass 11:00; Treble 11:00
Clip 9: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise; Cali76 CB on
Clip 10: P-15 Bass noon; Treble noon; Cali76 CB on
Clip 11: SSDI Bass all the way counterclockwise; Treble all the way counterclockwise; Mids all the way clockwise; LA-1A on
Clip 12: P-15 Bass noon; Treble noon; LA-1A on

Note: There are certainly other EQ combinations possible but the above should give you the general idea.


Useful Arts BF-1 (Added August 30, 2020)

Useful Arts BF-1

Clip 1: Flat; Pure button out; EQ button out (EQ disengaged)
Clip 2: EQ button in (engaged); Bass 2; Treble flat
Clip 3: EQ button in (engaged); Bass 3; Treble 1
Clip 4: EQ button in (engaged); Bass 5; Treble 3
Clip 5: EQ button in (engaged); Bass 7: Treble 4
Clip 6: EQ button in (engaged); Bass 8; Treble 6
Clip 7: EQ button in (engaged); Bass 4; Treble 2
Clip 8: EQ button in (engaged); Flat; Cali76 CB on
Clip 9: EQ button in (engaged); Flat; LA-1A on
Clip 10: EQ button in (engaged); Bass 3; Treble 1; Cali76 CB on
Clip 11: EQ button in (engaged); Bass 3; Treble 1; LA-1A on

Here's a second sampling with Treble flat and varying degrees of increasing Bass dial rotation.

Useful Arts BF-1 Fatter Tones

Note: There are certainly other EQ combinations possible but the above should give you the general idea.


Eclair Evil Twin (Added September 18, 2020)

Eclair Evil Twin

Clip 1: Flat; Polarity Pin 2
Clip 2: Flat; Polarity Pin 3
Clip 3: 9khz boost; Polarity Pin 2
Clip 4: 9khz boost, Polarity Pin 3
Clip 5: 3khz boost; Polarity Pin 2
Clip 6: 3khz boost; Polarity Pin 3
Clip 7: Flat; Polarity Pin 2; LA-1A on
Clip 8: Flat; Polarity Pin 3; LA-1A on


Ampeg SVT DI (Added October 11, 2020)

Ampeg SVT DI

Clip 1: SVT DI with tube disabled
Clip 2: SVT DI with tube enabled
Clip 3: REDDI
Clip 4: LA-1A on into SVT DI
Clip 5: LA-1A on into REDDI


Shaw Audio Tube Injection (Added October 11, 2020)

Shaw Tube Injection

Clip 1: EQ flat (dials at noon); Mid switch right; Fat off
Clip 2: EQ flat; Mid switch left; Fat off
Clip 3: EQ flat; Mid switch center; Fat off
Clip 4: EQ flat; Mid switch left; Fat on
Clip 5: Bass 1:30; Treble noon; Mid switch left; Fat on
Clip 6: Bass 1:30; Treble 11:30; Mid switch left; Fat on
Clip 7: Bass 1:30; Treble 11:30; Mid switch right; Fat on
Clip 8: Bass 1:30; Treble 11:30; Mid switch center; Fat on
Clip 9: EQ flat; Mid switch right; Fat off; LA-1A on
Clip 10: EQ flat; Mid switch right; Fat on; LA-1A on
Clip 11: Bass 1:30; Treble 11:30; Mid switch left; Fat on; LA-1A on
Clip 12: Bass 1:30; Treble 11:30; Mid switch center; Fat on; LA-1A on
Clip 13: Bass 1:30; Treble 11:30; Mid switch right; Fat on; LA-1A on

There are certainly other combinations with plenty more EQ but these samples should give you the idea of how the Shaw Tube Injection sounds.


Sushi Box Slampegg Bee Pre (Added November 14, 2020)

Sushi Box Slampegg Bee Pre

Clip 1: EQ flat (dials at noon); all switches off (down); Gain 11:00
Clip 2: Bass 2:00; Treble noon; all switches off (down); Gain 11:00
Clip 3: Bass 2:00; Treble 2:00; all switches off (down); Gain 11:00
Clip 4: Bass 11:00; Treble noon; all switches off (down); Gain 11:00
Clip 5: EQ flat; Ultra High switch on (up); all other switches off (down); Gain 11:00
Clip 6; EQ flat; Ultra High switch on (up); Ultra Bass on (up); Bright switch off (down); Gain 11:00
Clip 7: EQ flat; all switches on (up); Gain 11:00
Clip 8: EQ flat; all switches off; Gain 1:00
Clip 9: EQ flat; all switches off; Gain 3:00
Clip 10; Bass 1:00; Treble noon; all switches off (down); Gain 3:00
Clip 11: EQ flat (dials at noon); all switches off (down); Gain 11:00; Effectrode LA-1A on

There are certainly other combinations with plenty more EQ but these samples should give you the idea of how the Slampegg Bee Pre sounds.


ZOD ID DI (Added November 21, 2020)

Zod

People often compare the Zod to the REDDI so I have included both here.

Clip 1: Zod, polarity switch up
Clip 2: Zod, polarity switch down
Clip 3: REDDI
Clip 4: Zod, polarity switch down; Effectrode LA-1A on
Clip 5: Zod, polarity switch up; Effectrode LA-1A on
Clip 6: REDDI with Effectrode LA-1A on


Jule Simone (aded January 10, 2021)

Jule Simone

Clip 1: EQ flat (dials at noon); Drive 1:00; Sensitivity 100% counterclockwise; Boost off
Clip 2: EQ flat; Drive 100% clockwise; Sensitivity 100% counterclockwise; Boost off
Clip 3: EQ flat; Drive 1:00; Sensitivity 1:00; Boost off
Clip 4: Bass 2:00; Mids flat; Treble flat; Drive 1:00; Sensitivity 1:00; Boost off
Clip 5: Bass 1:00; Treble 10:00; Mids flat; Drive 1:00: Sensitivity 1:00; Boost off
Clip 6: EQ flat; Drive 1:00; Sensitivity 1:00; Boost on
Clip 7: Bass 2:00; Treble flat; Mids flat; Drive 100%; Sensitivity 1:00; Boost on
Clip 8: Bass 2:00; Treble flat; Mids flat; Drive 100%; Sensitivity 10:00; Boost on

There are many more tonal options with different EQ/drive/sensitivity configurations, this is just a variety to help communicate the idea of what Simone is capable of.


Sushi Box Slampegg Bee X (added January 23, 2021)

Slampegg Bee X

Clip 1: EQ flat (dials at noon); all switches off (down); Gain 11:00
Clip 2: Bass 2:00; Treble noon; all switches off (down); Gain 11:00
Clip 3: Bass 2:00; Treble 2:00; all switches off (down); Gain 11:00
Clip 4: Bass 11:00; Treble noon; all switches off (down); Gain 11:00
Clip 5: EQ flat; Ultra High switch on (up); all other switches off (down); Gain 11:00
Clip 6; EQ flat; Ultra High switch on (up); Ultra Bass on (up); Gain 11:00
Clip 7: EQ flat; all switches off; Gain 1:00
Clip 8: EQ flat; all switches off; Gain 3:00
Clip 9; Bass 1:00; Treble noon; all switches off (down); Gain 3:00
Clip 10: EQ flat (dials at noon); all switches off (down); Gain 11:00

There are certainly other combinations with plenty more EQ but these samples should give you the idea of how the Slampegg Bee X Pre sounds.


Jule Monique (added January 23, 2021)

Jule Monique

Clip 1: EQ flat (dials at noon); Sensitivity 100% counterclockwise
Clip 2: EQ flat; Sensitivity 10:00
Clip 3: EQ flat; Sensitivity 1:00
Clip 4: Bass 2:00; Mids flat; Treble flat; Sensitivity 1:00
Clip 5: Bass 1:00; Treble 10:00; Mids flat; Sensitivity 1:00
Clip 6: Bass 1:00; Treble 10:00; Mids 2:00; Sensitivity 1:00
Clip 7: EQ flat; Sensitivity 1:00; Sensitivity pulled out (boost)
Clip 8: Bass 2:00; Treble flat; Mids flat; Sensitivity 1:00; Sensitivity pulled out (boost)
Clip 9: Bass 1:00; Treble 10:00; Mids 2:00; Sensitivity 100%; Sensitivity pulled out (boost)
Clip 10: Bass noon; Treble 2:00; Mids flat; Sensitivity 100%; Sensitivity pulled out (boost)
Clip 11: Bass noon; Treble 3:00; Mids flat; Sensitivity 100%; Sensitivity pulled out (boost)
Clip 12: Bass 1:00; Treble 2:00; Mids flat; Sensitivity 100%; Sensitivity pulled out (boost)

There are many more tonal options with different EQ/Boost/Sensitivity configurations. This is just a variety to help communicate the idea of what Monique is capable of.


Mozztornics DI-2 (added March 7, 2021)

Mozztronics DI-2

Clip 1: EQ disengaged; Drive 10:00
Clip 2: EQ disengaged; Bright switch on
Clip 3: EQ on set flat; all other switches off; Drive 10:00
Clip 4: EQ on; Bright switch on; Bass 1:00; Mids flat; Treble flat; Drive 10:00
Clip 5: EQ on; Bright switch on; Bass 2:00; Mids flat; Treble 1:00; Drive 10:00
Clip 6: EQ on; Bright switch off; Bass 2:00; Mids flat; Treble 1:00; Drive 10:00
Clip 7: EQ on; Bright switch off; Bass 2:00; Mids 10:00; Treble 1:00; Drive 10:00
Clip 8: EQ on; Bright switch off; Bass 10:00; Mids noon; Treble 11:00; Drive 10:00
Clip 9: EQ on; Bright switch off; Bass 10:00; Mids 10:00; Treble 11:00; Drive 10:00
Clip 10: EQ on; All EQ flat (noon); Bright switch on; Ultra Bass switch on; Drive 10:00
Clip 11: EQ on; All EQ flat (noon); Bright switch on; Ultra Bass switch on; Drive 1:00
Clip 12: EQ on; Bass 1:00; Mids noon; Treble noon; Drive 2:00
Clip 13: EQ on; Bass 1:00; Mids noon; Treble noon; Drive 3:00
Clip 14: EQ on; All EQ flat; Drive 1:00; Here I rotate the Bass control starting at noon and then rotating fully clockwise and then fully counterclockwise returning to noon.
Clip 15: Doing the same but with Treble control; Drive 1:00
Clip 16: Doing the same but with Mids control; Drive 1:00
Clip 17: EQ on; All EQ flat; Bright switch on; Drive 1:00
Clip 18: EQ off; Bright switch on; Drive 1:00

There are many more tonal options with different EQ/switch positions/gain configurations. This is just a variety to help communicate the idea of what the DI-2 is capable of.


Markbass Vintage Preamp (added March 13, 2021)

Markbass Vintage Pre

Clip 1: Flat which means all EQ at noon; drive and blend all the way counterclockwise; EQ dial in Flat position. Gain at 11:00
Clip 2: Flat (same as clip 1) but bass at 2:00
Clip 3: Flat (same as clip 1) but mid low at 2:00
Clip 4: Flat (same as clip 1) but mid high at 2:00
Clip 5: Flat (same as clip 1) but mid low at 10:00
Clip 6: Flat (same as clip 1) but mid high @10:00
Clip 7: Flat (same as clip 1) but bass at 2:00 and treble at 2:00
Clip 8: Flat (same as clip 1) but bass at 10:00 and treble at 10:00
Clip 9: Flat (same as clip 1); Here a rotate the bass control starting at noon and then rotating clockwise and then fully counterclockwise returning to noon.
Clip 10: Flat (same as clip 1); Here a rotate the mid low control starting at noon and then rotating clockwise and then fully counterclockwise returning to noon.
Clip 11: Flat (same as clip 1); Here a rotate the mid high control starting at noon and then rotating clockwise and then fully counterclockwise returning to noon.
Clip 12: Flat (same as clip 1); Here a rotate the high control starting at noon and then rotating clockwise and then fully counterclockwise returning to noon.
Clip 13: Flat (same as clip 1) with EQ switch in middle position
Clip 14: Flat (same as clip 1) with EQ switch in old position
Clip 15: Flat (same as clip 1) with distortion option #1 enabled; Drive at noon; Clean blend at noon
Clip 16: Flat (same as clip 1) with distortion option #1 enabled; Drive at noon; Clean blend at 3:00
Clip 17: Flat (same as clip 1) with distortion option #2 enabled; Drive at noon; Clean blend at noon
Clip 18: Flat (same as clip 1) with distortion option #2 enabled; Drive at noon; Clean blend at 3:00
Clip 19: Starting flat (same as clip 1); Here I sweep the drive and blend with distortion option #1 and adding various EQ
Clip 20: Starting flat (same as clip 1); Here I sweep the drive and blend with distortion option #2 and adding various EQ
Clip 21: Starting flat (same as clip 1); Here I rotate various EQ dials to give a sense of the different tones

There are many more tonal options with different EQ/switch positions and gain/drive configurations. This is just a variety to help communicate the idea of what the Markbass Vintage Pre is capable of.


Lightning Boy DiVision (Added April 24, 2021)

DiVision

Clip 1: Bass directly into audio interface (no DiVision) for reference of flat tone
Clip 2: Bass into DiVision with Vision dial all the way counterclockwise
Clip 3: Bass into DiVision with Vision dial all the way clockwise
Clip 4: Bass into Lightning Boy 2020s into DiVision with Vision dial all the way clockwise


WRA Goliath (Added May 1, 2021)

Goliath

Clip 1: Bass 2; Mid 2; Treble 2; Sensitivity 50%; Deep off
Clip 2: Bass 4; Mid 2; Treble 2; Sensitivity 50%; Deep off
Clip 3: Bass 4; Mid 6; Treble 2; Sensitivity 50%; Deep off
Clip 4: Bass 4; Mid 6; Treble 4; Sensitivity 50%; Deep off
Clip 5: Bass 4; Mid 6; Treble 6; Sensitivity 50%; Deep off
Clip 6: Bass 4; Mid 6; Treble 3; Sensitivity 50%; Deep on
Clip 7: Bass 6; Mid 8; Treble 5; Sensitivity 50%; Deep on
Clip 8: Bass 4: Mid 6; Treble 2; Sensitivity 100%; Deep on


Lightstone Emperor (Added May 15, 2021)

Lightstone Emperor

JUST DI OUT VIA XLR
Clip 1: Colour dial all the way counterclockwise
Clip 2: Colour dial 10:00
Clip 3: Colour dial 1:00
Clip 4: Colour dial 10:00; Bright switch on
Clip 5: Colour dial 9:00; Bright switch on; Deep switch on

CHANNEL 1 ON
Clip 6: Colour dial 10:00; Bright switch on; Bass 10:00; Mids noon; Treble 10:00
Clip 7: Colour dial 10:00; Bright switch on; Bass 1:00; Mids noon; Treble 10:00
Clip 8: Colour dial 1:00; Bright switch on; Bass 11;00; Mids noon; Treble 10:00
Clip 9: Colour dial 10:00; Bright switch on; Deep switch on; Bass 11:00; Mids noon; Treble 10:00
Clip 10: Colour dial 11:00; Bright switch off; Deep switch off; Bass 1:00; Mids 1:00; Treble noon

CHANNEL 2 ON
Clip 11: Colour dial 9:00; Bright switch off; Deep switch off; Bass 10:00; Mids 1:00; Treble noon
Clip 12: Colour dial noon; Bright switch off; Deep switch off; Bass 10:00; Mids 11:00; Treble 1:00
Clip 13: Colour dial 10:00; Bright switch on; Deep switch on; Bass 9:30; Mids 10:00; Treble 1:00

CHANNEL 2 ON WITH GAIN INCREASED AND FUZZ/DIST SWITCH ON
Clip 14: Colour dial 11:00; Bright switch off; Deep switch off; Bass noon; Mids noon; Treble noon; Gain increased to 1:00; Dist switch on
Clip 15: Colour dial 11:00; Bright switch on; Deep switch off; Bass noon; Mids noon; Treble noon; Gain at 1:00; Dist switch on
Clip 16: Colour dial 11:00; Bright switch on; Deep switch off; Bass noon; Mids noon; Treble noon; Gain increased to 2:00; Dist switch on
Clip 17: Colour dial 10:00; Bright switch on; Deep switch on; Bass 10:00; Mids 1:00; Treble 1:00; Gain 2:00; Dist switch on
Clip 18: Colour dial 10:00; Bright switch off; Deep switch off; Bass 1:00; Mids 10:00; Treble 1:00; Gain 2:00; Dist switch on
Clip 19: Colour dial 10:00; Bright switch off; Deep switch off; Bass 1:00; Mids 3:00; Treble 1:00; Gain 1:00; Dist switch on

There are many more possible combinations — hopefully this gives you a taste of the many configurations. Each dial is interactive so there is so much more to explore. Definitely more gain on tap to for even more fuzz/distortion.


JT Amplification Alpha (Added April 20, 2022

Alpha

Clip 1: Flat which means all switches in center position; Gain at 11:00
Clip 2: Same as above with Gain at 1:00
Clip 3: Same as above with Gain at 3:00
Clip 4: Same as above with Gain at 4:30 (still more room on the Gain dial if desired)
Clip 5: Back go Flat with Gain at 11:00
Clip 6: Gain at 11:00 with Deep switch and Mids switch activated (both down)
Clip 7: Gain at 3:00 with Deep switch and Mids switch activated (both down)
Clip 8: Gain at 11:00 with Dark and Bright switch activated (both up)
Clip 9: Gain at 3:00 with Dark and Bright switch activated (both up)
Clip 10: Back to Flat with Gain at 1:00
Clip 11: Gain at 10:00 with Deep switch activated

There are other possible combinations with the switch positions and gain dial position. The device was tested with Pad off and XLR out.


Sushi Box finally Tube Direct Box

finally

Clip 1: Gain at 10:00
Clip 2: Gain at 1:00
Clip 3: Gain at 3:00
Clip 4: Gain at 4:00


Khan VTDI (Added October 29, 2022)

Khan

Clip 1: Bass into the Khan


Crucial Audio DUB-1 (Added November 2, 2022)

Crucial Audio DUB-1


KAOS DI/Preamp (Added November 18, 2022

KAOS

Clip 1: EQ off, just straight DI
Clip 2: EQ enabled and treble at 11:00 and bass at 11:00 (as you look at the face of the DI)
Clip 3: treble at noon, bass at 2:00
Clip 4: treble at 2:00 and bass at 3:00.
Clip 5: EQ off, just straight DI


There you have it folks! Hope this is helpful to you. Lot of tubey goodness in there.

 

Alright. Let’s do it. Poll added.