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Building on the circuitry of the SmallDI, the Avenson IsoDI adds two optional isolation stages. The main signal path is still a clean, wide bandwidth transformerless FET amplifier, but the power is generated with an isolated DC to DC converter so that you can have true ground isolation and still run the IsoDI on phantom power. The IsoOut jack can be a buffered, transformer isolated output to feed amplifiers or other inputs that can compromise the performance of the main signal path if connected in parallel. Now there is a way to get a clean DI signal even when there is bad stage power that causes the amp to buzz from light dimmer hash! The switchable IsoOut / Parallel jack give you the flexibility to configure the jack as a summed input, a parallel connected output, or a transformer isolated output. All of this in a rugged palm sized aluminum extrustion that makes it easy to toss into your gig bag or pack into a road case.
This phantom powered active DI is the perfect instrument interface. It transparently passes the sound of your instrument to the preamp without adding its own sound.
The Small DI has a very high impedance input FET buffer inside designed for wide bandwidth and clean reproduction. The buffer circuit runs on +48V phantom power and is unity gain.
One of the best features of the Avenson Small DI is that it comes before the preamp, so that your input signal uses all the electronics of the preamp. The Small DI is also the perfect accessory for microphone preamps that don't have a DI. Its also great for preamps that put the DI input in an inconvenient place like the back!
It's not much bigger than an XLR connector and at only 3.25" long it fits anywhere unobtrusively. The red LED tells you when phantom is turned on making last minute troubleshooting easier.
The Buzz Audio MIA-1.0 Musical Instrument Adaptor (traditionally called a Direct Box) was initially designed to compliment the MA-2.2 Microphone Amplifier, converting unbalanced instrument inputs into a balanced mic level signals. This is achieved with a simple FET input, balanced output Buffer amplifier. There are no transformers in the audio path, ground isolation is achieved by the use of a transformer in the hi-frequency power supply that converts the phantom power to the nominal 12V operating voltage. Very nifty !!
The MIA-1.0 can of course be used with any mic preamp equipped with +48V phantom power (8mA). Users can expect smoother bass performance and excellent treble reproduction without the phase shift anomalies inherent in standard transformer coupled designs.
The Countryman Type 10 DI box is
the ideal counterpart to the classic Type 85, combining the exceptional
ruggedness and versatility of the Type 85 with an advanced design that
sets a new standard for pure performance.
Most direct box designs must make difficult tradeoffs with your sound:
ultra-low distortion can only be attained by increasing input noise;
true ground isolation means high phase deviation or signal attenuation.
The Type 10 takes a radically new approach, with an analog circuit that
tunes itself to deliver your sound with the lowest distortion, lowest
noise, and highest accuracy of any direct box. The result is a clean,
precise sound that is completely faithful to the original.
Outstanding Performance
The Type 10 achieves the highest SNR, lowest phase deviation, and lowest
distortion of any DI. Some boxes achieve low distortion over a narrow
range of frequencies and levels, but end up coloring the low frequencies
and distorting loud signals. The Type 10 maintains exceptionally low
THD and IMD across the entire audio band, and for a wide range of input
voltages, rendering your sound with extremely high fidelity.
Frequency Response:
Deviation from Linear Phase:
+2 deg (30 Hz) 0 deg (100 Hz - 20 kHz) Noise (short input, 22 Hz - 20 kHz): 1.8 micro-Volts rms
THD (1Vpp, typical load):
< 0.001% at 1 kHz < 0.005% (30 Hz - 20 kHz)
IMD (1Vpp, typical load):
< 0.005% (10 kHz/60 Hz, 4:1)
Max Input (1% THD):
6 Vpp (0 dB pad) 33 Vpp (-15 dB pad) 190 Vpp (-30 dB pad)
Indestructible
Like the Type 85, the Type 10 is armored inside and out, with a molded
core wrapped in an extra thick architectural alumininum housing. The
switches and connectors are fully recessed. The electronics are just as
tough—both the Type 10 and the Type 85 shrug off static spikes and will
survive with the input connected directly to 110V or 220V line voltage.
Versatile
We understand that conditions on the road are not always ideal—noisy
electrical systems, mix boards positioned across a stadium with low
input impedance and low or no phantom power for your box. The Type 10
has rock solid isolation and is designed to drive any board across
hundreds of feet of cable whether or not you have phantom power. That
means that whatever environment you’re in, your sound will be
consistently great.
Pure and Simple
The legendary Type 85 achieves greatness partly through its simplicity:
no unnecessary roll-off switches or EQ options. With the new Type 10, we
kept it simple while adding some new features that we think can really
help you on the road. Handle sizzling hot outputs from active keyboards
using the -15 dB pad with virtually immeasurable distortion. Use the
edge of a coin to access the battery. Check the battery voltage and
monitor the quality of the phantom power with the flip of a switch.
How do you send the purest, warmest and most natural signal out of a high-impedance instrument to a balanced mic input at the console? Countryman's Type 85 Direct Interface Box.
Reflecting the ultimate engineering and highest-quality materials, the Type 85 DI Box adds nothing and removes nothing from the instrument's signal. No distortion. No electronic hum or buzz. No loss of dynamic range. It's the only active direct box that delivers such a clear, strong, warm signal to the mixer.
What's more, its design is sleek, compact, and virtually indestructible, and its 9V battery back to phantom power helps ensure it will never lose power onstage. Countryman's Type 85 is hands-down the most valuable and cost-effective direct box on the market!
Applications
Connects any high-impedance instrument (including piano) to an XLR mic input
Active direct box can run off internal 9V battery (~400 hours) if phantom power isn't available
Performance
Strong, clean signal to the mix board with no added noise or distortion
Isolates ground buzz between console and amp
Style
Small, compact, sleek design
Almost invisible on stage
Durability
Nearly impossible to break
Internal components are fully protected against electrical damage
Input circuit withstands 220V AC all day long, and static spikes up to 20,000 volts!
Five-year warranty
The D.W. Fearn LP-1 Line Pad is a two-channel accessory for use with the VT-1 or VT-2 Vacuum Tube Microphone Preamplifiers. It is simply a high-quality bridging-type pad that accepts line-level inputs (+4 dBm nominal) and produces a mic level output. The actual pad loss is 45 dB. When used in conjunction with the VT-1 or VT-2 Input Pad (-20 dB), it allows the mic preamp to accomodate line-level signals from consumer-level (-10 dBV) to high professional levels (+10 dBm or more).
The LP-1 is packaged in a heavy-duty die-cast aluminum box, painted with the same high-quality red paint and gold silk-screened labels as the other D.W. Fearn products. The Input and Output connectors are gold-contact XLR.
The LP-1 is typically used when the subtle signal-modifying characteristics of the VT-1 or VT-2 are needed on a line-level source, such as a previously-recorded track, or at the end of a processing chain. Several LP-1/VT-2 owners use the combination on the overall mix. At least one CD mastering facility uses the LP-1/VT-2 in the mastering chain.
The LP-1/VT-2 combination can also often be used to effectively salvage tracks that are otherwise too distorted or "edgy" for master use.
As a lower-cost alternative to the D.W. Fearn VT-I/F Vacuum Tube Instrument Interface DI, we have the D.W Fearn Passive Direct Box . This single-channel DI uses the top-of-the-line Jensen direct box transformer in a heavy-duty cast-aluminum box, finished with the same high-quality polyurethane paint as the other D.W. Fearn products.
It features dual 1/4-inch phone jacks for Instrument and Amp, a Neutrik gold-contact male XLR output connector, and a ground-lift switch.
The Passive Direct Box is ideal for recording any electric instrument, such as bass, electric guitar, electronic keyboards, etc. The high-impedance input is designed to properly match any instrument designed to normally feed a guitar amp. The output is 150 ohms, balanced, at mic-level.
The VT-3 is a dual-channel, all-triode vacuum tube DI (“direct box”) for recording electric or electronic instruments. The inputs are designed to provide the proper load impedance for all instruments that have a 1/4-inch phone jack output. Tube circuitry provides the very high impedance necessary to capture all the details of these instruments.
The outputs of the VT-3 are mic level (150 ohm source impedance at a nominal -30dBV). The VT-3 is designed to operate into a high-quality microphone preamplifier like our VT-1 and VT-2 Vacuum Tube Microphone Preamplifiers.
Operation is very simple: plug the instrument into the 1/4” front panel jack and take the output either from the front panel XLR connector, or a parallel XLR connector on the back panel. A second 1/4” jack provides an output to feed a guitar amplifier when necessary. A ground-lift switch helps eliminate ground loop buzz, and a switchable high-pass filter gently rolls off frequencies below 100Hz when required.
The two channels are entirely independent and can be used with two different instruments at the same time.
The Little Labs IBP and IBP Junior
easily eliminate the undesirable hollow sound when combining
out-of-phase and partially out-of-phase audio signals. Designed as a
phase problem solving device, the IBP Analong Phase Alignment Tool has
quickly become popular among audio engineers as not only a “fix it” tool
but as a controlling audio phase creative, tonal color tool.
Features
Allows mics to be placed where they sound best individually No compromising mic place do to phase problems when using IBP technology Rack mountable, 4 units fit in a 1U space Real time all analog phase sweep between 0° and 180º Continuously variable natural phase adjust Line level balanced XLR in and out Audiophile sound and construction
IBP includes the above features plus all the following:
Internal super quality active direct box Internal “re-amplier” to convert pro-level to guitar level (w/ or w/o phase adjust) Buffered instrument level output for driving long guitar cables Splitting between two instrument amps with transformer isolation + phase sweep
The Little Labs IBP and IBP Junior
easily eliminate the undesirable hollow sound when combining
out-of-phase and partially out-of-phase audio signals. Designed as a
phase problem solving device, the IBP Analong Phase Alignment Tool has
quickly become popular among audio engineers as not only a “fix it” tool
but as a controlling audio phase creative, tonal color tool.
Features
Allows mics to be placed where they sound best individually No compromising mic place do to phase problems when using IBP technology Rack mountable, 4 units fit in a 1U space Real time all analog phase sweep between 0° and 180º Continuously variable natural phase adjust Line level balanced XLR in and out Audiophile sound and construction
IBP includes the above features plus all the following:
Internal super quality active direct box Internal “re-amplier” to convert pro-level to guitar level (w/ or w/o phase adjust) Buffered instrument level output for driving long guitar cables Splitting between two instrument amps with transformer isolation + phase sweep
The Little Labs Multi Z PIP 3.0
is a completely updated, refined replacement for the now classic Little
Labs Multi Z Direct Box. Little Labs added so many features to the
original Multi Z Direct Box, we couldn’t call it just a direct box
anymore. Every custom mod that was asked of Little Labs over the past
ten years, of which there were many, has been incporporated into the
new, but still compact, Multi Z PIP. Use it as a super instrument
pre-amp, use it as a re-amp, use it as a DI, use it as a mini instrument
mixer, use it all together at once…The Multi Z PIP is all about
flexibility and superior sonics.
The Little Labs Multi Z Features:
Classic multi z source impedance optimized active DI circuitry Seperate on-board re-amplifer Allows simaltaneous re-amping and gain make up for vintage effect interfacing on a console insert Summing inputs (3 extra inputs) Instrument pick up emulation transformer and line level transformer isolated outputs Pre transformers insert (use pro gear before your guitar amp)
Designed to eliminate the many headaches involved in recording guitars, it is also an invaluable tool in live guitar sound, and as an aid when utilizing vintage guitar effects on any instrument. Whether in the studio or live, YOU need the Little Labs PCP Instrument Distro . Features Is a one-in three-out (five total)* guitar splitter (expandable) featuring transformer-isolated guitar level/impedance outputs with phase reverse, ground lift, and level adjust on each output. Is an Audiophile highest quality line level direct box. Allows three +4 dB balanced pro level inputs, which can be summed together as well as with the instrument input, to feed the guitar level/impedance outputs for feeding guitar pedals/effects and or amplifiers for "re-amping," thus easily enabling, like never before, doubling of guitar parts through the instrument amp. Is a guitar line driver for when a low output impedance is necessary to drive a long cable (e.g. utilizing a combo or twin amp and you need to play in the control room). Allows prerecorded direct guitar parts to be utilized live, through the guitar amp, allowing the guitar player to play along without missing a lick. Has NO modern hierarchical menus. Use your imagination. The possibilities are limitless. This box is a professional, well made, robust, super flexible and easy to use tool. Three year warranty. *Five out if you use the mult (direct out) and the combo amp line driver.
The Little Labs Redeye 3D Phantom
is the new improved major revision of the popular Little Labs Redeye
direct box / re-amp box. More people are re-amping now than ever before,
and we at Little Labs know re-amping! We made this new major Redeye
revision because we wanted to make sure we continued to make the best
sounding, most flexible, easiest to use, and reasonably priced re-amping
and direct box product available.
Features
Simultaneous vintage transformer direct box and re-amping tool Compare direct and re-amped signal with one button Phantom powered super hi fi buffered or passive direct box inputs What you heard is what you will hear easy re-amping operation Easily interfaces pro gear with guitar gear and vice versa Expandable for daisy chaining redeyes to feed multiple amps or pedals Rack mountable 4 redeyes fit in a 1U space
For easy accurate re-amping the Redeye 3D lets you listen thru your
whole recording chain, from Redeye 3D direct box, to mic pre to DAW (or
tape machine), to Redeye 3D Re-amp, to your guitar amp. In DI (direct
box) mode the instrument / re-amp out on the front of the Redeye 3D
works as a thru signal so you can simultaneously feed your guitar amp
while supplying a signal from the rear xlr to your mic pre and DAW or
tape machine. In re-amp mode the instrument / re-amp out on the front of
the Redeye 3D signal comes from the line level output of the DAW or
tape machine (converted to HI z guitar level signal) to feed your guitar
amp. This simple way of listening thru the chain (re-amp mode) and
being able to bypass the mic pre and DAW or tape machine in the chain
(DI mode) makes level adjustments a snap. This also assures you a
re-amped guitar sound that will be exactly what was heard when laying
down the track.
The heart of the original Redeye was a Little Labs custom wound
transformer. This transformer was chosen for its sonic characteristics
and is made with the same core material and winding technique as the
legendary UTC transformers found in many classic pro audio devices. The
Redeye 3D features two of these excellent transformers for simultaneous
direct box and re-amping use. We have also added to the Redeye direct
box a very high quality, hi fi, phantom powered, high impedance (10MΩ)
instrument buffer. When you are using the Redeye with sensitive passive
or piezo pick ups, this high quality buffer assures no tone change from
loading will occur. For those who use active pick ups or prefer the
sound of a passive direct box, you still have the option of plugging
into the Redeye 3D direct box passively as in the original Redeye. The
Redeye 3D sounds amazing and even if you never used it for re-amping it
is an incredible value just as a direct box.
The Redeye 3D phantom - the now even smarter flexible audio tool to aid you in all stages of your production.
The Little Labs STD allows you to use long microphone cables or microphone tie lines to extend your guitar or any instrument cable without the loss of tone and increase of noise associated with long instrument cable runs. It also has two outputs for splitting between two amps or between an amp and a direct injection box, with a selectable ground lift on one output to eliminate ground loop problems. The STD is the perfect solution for: the live player who is tired of the tone sucking wireless rigs but still needs to be able to walk more than ten feet from his amp; the studio player who needs his amplifier in isolation, but himself in close proximity to his band mates; the recording engineer using control room rack mounted direct injection boxes with a player located in the studio or isolation booth. The single transistor unity gain buffer circuit utilized in the STD is mounted inside the special copper tipped phone plug itself. This elegantly simple buffer circuit was designed to load the instrument pickup properly for a natural frequency response regardless of cable length and also will eliminate susceptibility of the cable to extraneous noise sources. The rugged cast aluminum base unit which sits next to the amp or direct injection box contains the mating circuitry which utilizes high quality audio graded parts, including Elna Cerafine and Dale Vishay. The STD base unit is powered by two nine volt batteries that with regular use will last over one year. Little Labs once again has addressed a common studio and live sound problem with a simple effective and reasonably priced solution.
The Manley Tube Direct models feature exceptionally clean and quiet tube circuits which will warm up any electric guitar, bass, violin, and especially those sterile sounding synths. Unique with the Manley Tube DI's is the added 5-position high pass shelf EQ, there to fight unwanted resonances. As splitter devices, the transformer-coupled balanced XLR output can be sent directly to a mic level input, such as through your console channel, while the 1/4" output drives the guitar amplifier cabinet which can be miked and mixed with the direct feed. Low impedance outputs, Ground lift and Console Out Boost switches make these units both versatile and compatible. Keep your Manley DI close at hand to get that noisy high impedance guitar cable into quiet lo-Z territory fast!
The Manley Tube Direct Interface models feature exceptionally clean and quiet tube circuits which will warm up any electric guitar, bass, violin, and especially those sterile sounding synths. Unique with the Manley Tube DI's is the added 5-position high pass shelf EQ, there to fight unwanted resonances. As splitter devices, the transformer-coupled balanced XLR output can be sent directly to a mic level input, such as through your console channel, while the 1/4" output drives the guitar amplifier cabinet which can be miked and mixed with the direct feed. Low impedance outputs, Ground lift and Console Out Boost switches make these units both versatile and compatible. Keep your Manley DI close at hand to get that noisy high impedance guitar cable into quiet lo-Z territory fast!
As the Martech MSS-10 Microphone Preamplifier became popular with
discerning users, requests increased for a direct box that would give
them that same “high fidelity with soul” they love about their MSS-10s.
Staying true to the design of the MSS-10, the MartinSound MSS-01
starts by using the same custom transformer to provide a sonically
superior passive path that accommodates both balanced and unbalanced
sources, and then adds a German microphone quality active input to
lighten the load when required for vintage guitars.
Join the hit makers who have already discovered magic in the Martech
Modular Studio Series. Experience the artistic satisfaction from using
an MSS-01 and turn your dreams into legend.
Another Direct Box?
At Martinsound we build and offer exclusively to our studio clients, a
passive direct box based on the design of our renowned Martech MSS-10
Microphone Preamplifier. Musicians, engineers, and producers who try it
agree that our direct box sounds bigger, clearer and more open than the
high-end boxes they bring to the sessions. With no surprise, demand
grew for a commercial version.
A transformer is used in a passive direct box to match the high
impedance output of an instrument to the low impedance input of a mic
preamp. By lowering the impedance of the signal, it is less susceptible
to interference and can drive longer distances without reacting to
cable capacitance, thus preventing high frequency loss. The transformer
also reflects a proportionally higher input impedance from the mic
preamp, lessening the load on the instrument.
The Martech MT-1005 input transformer has a 10:1 ratio, dividing the
output impedance of the instrument by 100 while multiplying the mic
preamp input impedance by 100. Mic preamps have an input impedance
ranging from 1.5k to 10k ohms, which, when reflected across the
transformer, will range from 150k to 1M ohms. Some vintage guitar
pickups can sound dull and lifeless when driving less than 500k ohms,
rendering the MT-1005 unsuitable for these instruments if the mic
preamp input is below 5k ohms. Adding a FET to the front end would fix
the input impedance at a high value, but at what cost to the
transparent sound of the transformer?
The best of both worlds was our design decision: the ultimate passive
direct box, and the finest sounding high impedance active direct box.
Adding an active path meant addressing issues such as power supply,
headroom, and sonic degradation, and our decisions are what sets the
Martech MSS-01 apart from the pack.
Phantom power was an obvious choice for this design. We added large
power reserve capacitors for maximum headroom, and optimized supply
rails providing 40 volts peak to peak for clean operation. The circuit
is similar to that found in high-end condenser microphones, rather than
a standard FET direct box, with a little Martech design magic to
minimize the characteristic ‘tzzzz’ of the FET. Martech went over the
top once again to minimize components in the signal path, basing the
design on how it sounds, not just test equipment measurements.
The MSS-01 is a unique choice in a vast universe of direct boxes. It
provides a phenomenally transparent interface that allows instruments
to bloom and sound the way they’re supposed to: natural.
Why Use the MSS-01?
The unique instrument interface provides a sonically superior passive
path that accommodates both balanced and unbalanced sources, and a
German microphone quality active input to lighten the load on vintage
guitars.
How Does It Sound?
Actually the question should be, “How does your instrument sound?” For
that is what the MSS-01 will reveal. The soul intent of the MSS-01 is
to let you hear every nuance from your instrument, without adding any
coloration.
Why Not Always Use the Active Input?
This is a subjective issue that only you can decide. Many purists want
a minimal signal path, so they go straight for the Passive Input. It is
recommended that you listen to the instrument on both inputs instead of
assuming which will sound better. The unique circuit for the Active
Input requires a 15 minute ‘warm up’ period, much like tube equipment.
It is important that you apply phantom power and wait for the circuit
to settle before comparing the two inputs. Listen to the Passive Input
during warm up for a reference and then switch to the Active Input.
Listen for excessive dullness or fly away in the top end, keeping in
mind that brighter is not always better. Also listen for depth and
imaging before determining the best loading for the instrument.
Why a Balanced Input On a Direct Box?
When a typical guitar cable is used the tip/sleeve plug will
automatically unfloat the input of the transformer, making it like most
other DIs, but the MSS-01 can handle the rare occasion when an
instrument has a balanced output. And clever engineers will figure out
all sorts of uses for the 10:1 transformer.
What is Natural Sound?
If something sounds “better” than its source, the coloration is called
euphonic, whereas if it sounds worse, we have many esoteric or vulgar
words to describe it. But when it sounds the same, the only word to
describe it is natural. Natural is not sterile or neutral. Sterile
means unable to produce or lacking vitality. If anything, natural sound
is the antithesis of sterility. And natural isn’t just accuracy, for it
moves one into the realm of realism.
Natural Sound is breathtaking, an aural seduction. Unconstrained
dynamics that never get pinched at high levels. A highly focused image
with low level ambience and room information that doesn’t mysteriously
disappear. Brilliant tonal quality with lots of air. It’s top end that
isn’t smeared, midrange with warmth, and extra octaves of an extended
bottom that is fat and solid. And when punch is required, stand back.
Natural sound is all this and more because nothing is removed.
The Pendulum MDP-1 is a modern two channel vacuum tube Mic/DI preamp designed to be the ultimate way to get your mic or source directly to tape or hard disk. Unlike vintage or hybrid designs, the MDP-1 uses a pure tube, class A high voltage circuit topology with a transformerless output stage to deliver an open, intimate sound with a level of detail that meets the requirements of the most demanding recording applications. Our short signal path design excels in audio performance, delivering extremely wide bandwidth, low noise, and high headroom.
A key component of the sound of a tube mic preamp is the input transformer. It's here that we let your select how you would like the preamp to sound. The MDP-1 can be ordered with your choice of two low turns-ratio transformers depending on your requirements: a Jensen 13K7A for a full, open sound with plenty of sparkle in the high end and a deep low end - perfect for recording all sources, especially instrumental music; or a custom-wound transformer for a more 'focused' sound, with extra presence and clarity in the midrange - ideal for a vocal sound that easily distinguishes itself in a mix.
The MDP-1 also has all the things you'd expect in a full-featured mic preamp; phantom power, phase reverse, -20dB input pad, a lo cut filter with 10 frequencies and large, illuminated VU meters.
The DI signal path is completely transformerless, with a selection of three input load impedances: 10M for piezoelectric acoustic instrument pickups, 1M for magnetic pickups, and 100k with a 20dB pad for line level sources such as keyboards or other -10dBV equipment.
Pendulum MDP-1A
A modern two channel vacuum tube Mic/DI preamp designed to be the ultimate way to get your mic or source directly to tape or hard disk
... Learn more
The Phoenix Audio (UK) Class A, all discrete, Stereo DI has been tested and used by many professionals in studio recording environments. And the comments are always the same…”This is the definitive DI!!!”. The DI’s characteristics are very noticeable on any input source, and is superb for “sweetening” the output from DAW or any other signal source.
The Phoenix Audio “Nice DI” is a high-quality, active, Stereo DI, with Class A, discrete, high-impedance inputs (10M), and Class A, discrete, transformer balanced outputs. It has been tested and used by many guitar professionals in studio recording environments, and the comments are always the same.....The overdrive is fantastic, the guitar sounds clean, clear, and un-restrained. This is the definitive DI!!!. The DI’s characteristics are very noticeable on any input source, and is superb for “sweetening” the output from DAW or any other signal source.
The result is a brighter, clearer sound. A transformation of your instrument. And a STEREO unit for the price of many mono units.
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