It's a great way to do it and someone had an inspired idea bringing that out. Yeah I've used fixed short delay on digital consoles to achieve that, do-able but being able to just grab a knob on a hardware unit and twist until it sounds best would have to be the way to go, and impress the band while you're at it - "hey that's better, whatcha do?"

Hi Bernie, i see that the next person mentioned that UAD made a software versions of this ...

hope you can find one Down Under !!! it truly is a Great Box of Tricks !!

cheers john

Thanks John, that might be the way to go but I'd love to own one in hardware to take to my gigs, which is what I do for a living. Much Appreciated

sorry for confusion ... i meant Hardware as well !!!

Bo Hansen DI through an old V672 is my go to!

I'd never really heard an active Radial DI in full-on hard clipping before, until last night. I DI'd a very good bass player's instrument but he uses a few effects that are important to his sound, and the signal was really hot at the DI's input. Then when he used one particular FX it was too much for the PZ-DI and it was really bad, I couldn't use it at all. I'd heard some mild peaking before but not like this. That's the limitations of active DI's on phantom only.

I had been considering what DI to get next and this proved I needed passive. I also get drum pads, backing tracks, funny pedals and all sorts and deaf drummers can really crank those things. I know it's boring but I got a Radial JDI, in the live sound world they're the new standard for good reasons. A different player today hit his octave pedal at a similar level to the player from last night, and the Jensen-equipped passive model handled it far better. It can be a nice effect if it's not too extreme. I could have just gone for a basic passive but the J in JDI is for Jensen, always a safe bet.

In this thread most of the posts are from the studio world, in live sound the priorities are a little different. You rarely have the type of PA or even a room clean enough to hear the qualities of the high-end types. Someone said recently elsewhere that with audio interfaces, don't sweat the last percentage point of performance between one model and the next, they all sound pretty nice, it's the features you need in practical terms that are most important. In live sound I totally find that to be true, so long as you're at the standard of a Radial, Countryman or similar you won't really get to hear that last subtle difference in harmonic content. What makes the box the right choice is whether it lets you interface easily to the gear you have to work with, without problems. WIth modern instrument loading is rarely the issue either. This JDI has some cool features, I didn't realise it could use the Input and Link sockets as 2 inputs to merge into the single balanced out, and it also has a 30dB pad mode for speaker outputs. I'm going to be glad to use that as was posted here a few weeks ago.

I don't want to play down the qualities of the fine studio DI's and pre's you posters here have been kind enough to share, I'm just saying since I'm mainly a live guy I wouldn't get to make the most of DI's of that calibre. Practical features might just have to win out over a DI that actually sounds better if it doesn't have the right ability to solve problems when you have limited time. Of course you can hear a decent upgrade, or if gear is just bad, but the law of diminishing returns may apply.
Thanks again for the great posts, all are warmly welcome

I use a JLM DI that I included on my API 312's. I actually added two DI's to the mike pre rack for keyboards, etc. They work well!

My main DI is the "DWA DI" Wolfboxes that I use and also build to sell, with vintage Triad transformers that I sometimes can find. It's "the sound" on bass for me, also good on electric guitar. I don't know, kind of a fat midrange tone with lots of shape on the bottom, and no "tinsely" stuff on the top, unlike the majority of DI boxes. I'm proud of these, and people unanimously seem to love them.

I also sometimes use the DI input on the MOTU Ultralite MK5 interface that I mainly record through these days. It's like clarity on viagra. One of the cleanest DI's I've heard. For electric guitar it's nearly invisible but somehow adds "punch" and responds easily to aggressive play styles. Same with drum machine boxes, etc, it's great. The microphone inputs are similar, ultra-clean and punchy.

Radial J48 is good on Moog synthesizer. Used to use the JDI as a main tool, don't have any currently. Pro D2 gets used on digital piano, the JDI Duplex was too bright, the Eclipse transformers in the D2 "round" the sound a little and are more flattering than the Jensens for this instrument.

Pair of LiveWire passive boxes on the Roland Alpha Juno-1. They're totally fine, I got them for nothing, so I use them.

Countryman 85 as an amp head DI (same as @ joeq .) I had the Two Notes Torpedo Captor for a while but it was ear splittingly horrible when you really listened. The Countryman exceeds it immediately, "actually" sounds good. I use a speaker for the load or a Bugera $99 attenuator, which is another cool box.

I have an OEP Bo Hansen that never gets used, maybe I'll take it to gigs or something. It's kind of "polite" sounding. It looks cool, I painted it red.

Sometimes I'll use the "Bo Hansen" API 312 modification DI inputs on my Capi 312 mic pres, that's a cool sound too, kind of flat and punchy, whatever, the distinctive API DI input sound, bypasses the input transformer.

Thanks Monkeyxx, some good information I hadn;t heard. I'm surprised that the JDI Duplex was too bright but I'm inferring that the standard JDI wasn't. I just got a JDI, I've used them before and liked it better than the basic active one made locally. Not a bad unit, the JDI was just better.

I've got a Clarett+ 8Pre and I tried the DI mode on the first channel, vs the same active (1M ohm i/p Z, phantom from the 8Pre, not much else to say about it). It was definitely super clean, inaudible noise at working levels, on a pretty nice Maton acoustic guitar it was beautiful but that's got a lot to do with the quality of the source too. I didn't get long to play with it but I would say the other DI lost some fine detail and you could hear some noise floor with a little boost. So I believe you about the MOTU's DI mode, I bet it's pristine too. Tonally I found the Clarett+ Hi Z input very close to other DI's I've heard on that guitar but my guess is faster transient response and better preservation of fine harmonic content. That stuff just adds a dusting of class to an already decent source.

I'm interested in your tip on the Pro D2, I've not really considered that line of Radial because I figured in that class of gear other brands must have the same but cheaper somewhere. But there's nothing wrong with Eclipse, I'll bear that in mind. I'm still considering a dedicated stereo passive mostly for keys. I got the JDI esp. for hot mono sources like half deaf drummers hitting sample pads harder as the set goes on. Once I heard that PZ-DI in full-on overload break-up I knew I needed a passive before the next gig with a source like that so I got one right away. But a D2 might be handy. The active Radials really aren't bad but I've heard a J48 really let go on a signal that got too hot and that wasn't pretty either. That's just the limitations of phantom-powered active circuits.

I wasn't aware of your line of DI's, I'm guessing I won't see a lot in West Aussie music retailers just yet but if I get the chance I'll check them out. A wise old techie guy sketched up a pre-amp circuit for me once for a pre-amp to suit a Fishman microphonic pickup on a double bass, and I made it up out of a prototyping board in a little box. I just wish I'd made a whole run of them, that thing sounded 100% better than the official Fishman 600 dollar thing and I made it for 50 bucks.

The Hi-Z mode on that 8Pre has got me interested to try the instrument input modes on some of the mic pre's out there. I'll be in the market for at least a couple soon and when I try them out, the Hi Z input will definitely influence my decision along with performance on mics.
Thanks again, this is all gold.

The JDI Duplex is identical to the "regular" JDI in sound. They both use the same Jensen transformers. The sound of a passive DI is pretty much 100% the sound of the transformer, nothing else. (Obviously not talking about connecting to different instruments, different mic pres here, just the DI part of the chain.) The whole box is basically just system level components around the "heart" of the transformer itself. The stripped down DI schematic is basically a transformer wired to a couple of connectors, mounted to something, grounded in the right way.

The JDI Duplex was "too much" for me, my OCD, but if you need all those extra I/O options, of course that's what it's made for. The "Stripped down" D2 is perfect for me on Digi Piano.

The Jensens are too bright on my Yamaha CP33. This is "my" opinion. Obviously. The Eclipse are warmer sounding, whatever.

The weird confusion of this topic is for a while there Radial was "sneaking in" Eclipse iron into the JDI Duplex when they had a Jensen shortage, and people were rightfully pissed off about this, there's a scandalous thread about it. Later on they went back to Jensens.

My DWA DI's will likely never be in any stores, I just sell them directly to people that want them.

Cool topic/thread!

Aha so that's what is/was going on with the JDI Duplex, right. I'd vaguely heard something about new vs. old ones but I never knew the details. I knew that a passive DI is basically just a way to connect to a transformer, no other magic there. No transformer is just "The Best" for all people and all instruments all of the time, of course, but Jensens are a safe bet if you need to choose just one. Again, being more of a live guy, I don't always get to zero in on the last iota of sonic detail in a given piece of kit, but the clients see Jensen, Radial and certain brands in my mic kit and think, yep, we can use this guy.

Those extra features on the JDI are the type of thing I might use less than 10% of the time, but I'll be grateful for when the right moment comes. I did want the merge function, I sometimes do little party/wedding/birthday gigs for friends and colleagues on small PA's for one thing, or fill-in gigs on other PA's than can be set up in all kinds of strange ways. Same for the option to connect to a guitar amp speaker. So it and my PZ-DI are my tool boxes, I just wish had that in time for certain instruments in the past. For a straight, simple stereo way to connect a nice keyboard it sounds like the D2 is worth looking into too. Being cheap I'd like the option of using a dual DI as two mono too, or consider it as 2 alternatives to the Jensen but paying for only one box

Yes i've really enjoyed seeing people's posts about what DI's they leep coming back to over time, and heard some great tips along the way. Some of that info has definitely influenced the way I work now too. There are posts from some real pro's, forums like these work best when people genuinely share their experience and don't get bogged down in disagreement. Thanks so much for adding to it, there's some real gold in here. Keep it coming everyone!

Been talking about mic output impedance and pre-amp input Z in another thread and reading some basic articles about it. I know way too little analogue electronics considering what I do for a living, BUT...
The passive Radial DI's all seem to have 600 ohm output Z, like a 57. Being transformer-based would the input Z of the console or interface have much influence on the tone of the DI? My guess is, not if it's a line out on the other side of the transformer, but suppose it's a piezo or passive magnetic pickup. Can anyone tell me what if any effect it would have if the destination Z was doubled, doubled again and so on? (this is why I don't call myself a sound *engineer*, I don't know enough about that sort of thing). I'd appreciate any help there

The preamp input impedance will be multiplied by the transformer turns ratio squared, turns ratio being the quotient of the primary and secondary coils.

In practice, this "turns ratio" in a typical DI is usually about 10:1. So the guitar or bass will "see" something like 100K Ohms impedance with a typical 1K input impedance mic pre.

So if you doubled your mic pre input impedance to 2K Ohms, your guitar would now "see" about 200K Ohms of impedance.

That's the simple version, a Jensen JT-DB-E (typical DI transformer) is actually 12:1, and a lot of mic pre input are, say, 1.5K Ohms or so.

DW Fearn PDB. Slightly better sounding than a JDI. Try that into a discrete Quad Eight preamp. Looking forward to trying it on my Vacuvox V41 when it arrives...

I like the di on my Shelford.

several, but the key ones are:
REDDI... primarily bass
Avalon U5 - God on funk guitar
Manley Dual Mono Tube - Keyboards
Radial Dual JDI - A different flavor for keys
Radial JDI - Great all purpose DI

Thanks for these, some great info. I've seen some of the same DI's mentioned several times, the REDDI is a favourite with quite a few. I wouldn't mind the Radial Pro D2 for passive on stereo sources with something other than Jensen yet still a nice quality transformer. For all-round value and usefulness the Radials seem to hold up well.

I'm interested that lots of folks find the high-Z inputs on some mic pre-amps to be a good option. And now there are a few mentions for the instrument inputs on some digital interfaces I think that's worth following.
Has anyone come to like the Hi-Z option on any other interfaces? I mentioned the one on the Clarett+ 8Pre worked well for me, how about on Apollo, RME and others? Good enough to use or would you prefer a stand-alone DI box?

Never forget the old rule:
„Active“ instruments, i.e. all active electronics, preamplified, fx boosted, line level, low impedance .... love passive DIs and all „passive“ instruments i.e. high impedance as you find in piezo guitar pickups, old Fender Rhodes without pre, Honer D6 ... love active DIs. Especially the PZ-DI has been a bizzare impedance mismatch in your case.
If a JDI performs with too much highs take the most lousy PRC 9.90$ DI you can get...

Thanks for the tip. Yes the PZ-DI is a very nice piece of active circuitry that sounds very clean and performs well, but like anything it has its limits. When I found them it was pretty obvious! I just used the pad switch of course which is between the input jack and the input buffer, so that fixed the problem, but it was a reminder that having a choice of passive or active is the way to go.

I think the next DI I buy will be the Radial Pro D2 as I mentioned, as I heard today who are the bands booked to play at that venue soon and there will be many stereo keyboards or other stereo line-level sources coming up. It was basically between that or a 2nd JDI but I wanted to hear the difference of those Eclipse transformers. Those 3 different units will give me a nice tool kit of DI's for different applications

That's a pretty classy-sounding demo there!

The Motown sound is "Passive loves passive."

The heavy loading of the guitar pickup actually sounds pretty frickin awesome. At least, to my ears. Love it.

I also like active DI's with synthesizers (active instruments.)

So rather than the old rule of thumb I guess I use the old rule of toe.

The Pro D2 is a fine piece of kit. I don't really have a sonic preference between it and the JDI, they're both totally usable.

Ah, you think „we had no other“ means „love“.

Ah, you prefer the 'brake the instrument and step on the gas on the DI' way...

Thanks, yeah I really don't expect to find one seems "better" than another when they're both quality units designed on similar principles, but this way I get the choice of different transformers. I knew i needed a DI for stereo sources, so one option was to get a 2nd one of either the PZ-DI or JDI. But a Pro D2 would free up the other DI's for the jobs they're best at.
I feel a bit sheepish just getting 3 of the same brand, it's becoming like the SM-57 of DI's but I have to say, for the price the Radials are perfectly decent I have no complaints. Happy to get a 3rd type. All the audio gear I buy for myself is carefully chosen, I pictured myself getting a few different brands but Radial is working out just fine

I don't mean what you say I mean. I mean I love the sound, the sound is love. Love is sound.

People can get out their protractors, rulers and "well techincally" 's till the cows come home, but that's not music, and it never was.

Remember the Beatles and George Martin? Breaking the "rules?" Look where that got them.

I guess someone should have kept them between the white lines.

I guess Motown would have sounded better if they had recorded "correctly"

I am startled by the conservatism in and around music sometimes.

And I also love your sense of humor!

Damn. I thought I recently answered this one. Must have been another thread. I have two Pro Co DB-1s, two Radial Stage Bug SB-2s, a DBX DB-1 that was given to me, but the main one I use for bass or the like is the Millennia TD-1 channel strip DI. EQ, HV-3 micpre and swiss army knife of a DI.

Grazie! I have to go back and update it. At least it has one of my fave Australian performers in it. That probably won't change...

Really does seem to be especially concentrated on GS—and in particular, the So Much Gear and High End forums. Attitudes—both aesthetic and social—that just bear no resemblance to those of actual artists and artistic communities. I guess when you think about it, it makes sense that productive, creative artists for the most part can't afford to be distracted by gear collecting, equipment fetishism, and doctrinal fidelity.

Demeter vacuum tube DI.

I'm really interested in the UnderTone. It's a little steep at $795 but EV put out a great video on it. Anyone tried it?

Corrected: $895