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Dirty-South Blues Harp forum: wail on! > DI Box: Passive or Active?
DI Box: Passive or Active?
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AppalachiaBlues
31 posts
Jul 08, 2017
1:09 PM
I am looking to buy a new DI box, to go between my chain (SM57 > impedance converter > delay pedal > LW Harp Attack) and the house PA.

I will also use the "link out" sometimes to go to a small amp on stage, in parallel to the PA. I believe the pad (-20db) would be a good feature, as well as the ground lift.

Which would work better (considering my set-up): passive or active? Why?

I understand that passive is more convenient, since you don't need to power it. Is there any disadvantage to a passive DI?

Specifically I am considering the Palmer PAN 01 (Passive) 39€, or the Palmer PAN 02 (Active) 59€. Anything specific concerns about the Palmers?

Any other experiences/suggestions?

Thanks!

Last Edited by AppalachiaBlues on Jul 09, 2017 10:16 AM
ScottK
109 posts
Jul 09, 2017
2:55 PM
Hey AppalaciaBlues, I also this past week was looking at what DI Box to get, and decided my small amp wasn't cutting it through the mix when it go too loud. And also with a delay and another pedal (mine is a joyo american sound but hope to get a lone wolf at some point)One of my mics is a 545sd so like the 57 I use a converter) Yesterday since I dont have the DI box yet I connected ny 545sd directly into an xlr on the PA and i also used the 58 that was set up as avocal mic. I ended up using the 58 mostly (because I like using my hand effects) and the mic I set up wasnt loud enough in the monitors but after hearing a recording they both sounded pretty good in front of the mains.

The DI from what I researched by searching in this forum just needs to be passive. From what I understand for using with a mic and harp passive is all you prob need. Plus you don't need to worry about power or batteries for it. However maybe others that chime in may have reasons there could be a benefit for active? Search this forum i found a lot of info that way.

I decided to stay in the under $50 range so I looked at these 3 which were the most convenient for me to get. Not sure if there available in your area.

Behringer Ultra-DI DI400P- $19.99 on Amazon
Livewire PDI Double Shielded Box $39.99 at guitar center (there's a cheaper model too, this one is double shielded).
Whirlwind IMP2 $47 on sale at guitar center usually $55ish

I ordered the whirlwind IMP2 through GC. From what i read the $19.99 behringer could be fine, its plastic and the whirlwind seems to have a good rep. I almost got the live wire but one of my buddies at GC that I trust a lot said he's go with the whirlwind. Its also smaller and lighter than the live wire. Both the live wire and whirlwind are made of metal for better durability.

Also I had a $50 gift certificate to use at GC otherwise I may have gone for the cheaper behringer.
There are better DIs like Radial that are $100+

The one you are looking at Palmer PAN 01 looks like its just like the live wire and whirlwind

Id be interested to know how it works out for you

Last Edited by ScottK on Jul 09, 2017 6:46 PM
doctom
34 posts
Jul 11, 2017
12:57 PM
Ok...dumb question here.

What does a DI box actually do? Would they help at all with feedback issues or help get more volume?

Thanks!
Tom
timeistight
2146 posts
Jul 11, 2017
4:06 PM
From Wikipedia:
A DI unit is an electronic device typically used in recording studios and in sound reinforcement systems to connect a high-impedance, line level, unbalanced output signal to a low-impedance, microphone level, balanced input, usually via an XLR connector and cable. DIs are frequently used to connect an electric guitar or electric bass to a mixing console's microphone input jack. The DI performs level matching, balancing, and either active buffering or passive impedance matching/impedance bridging to minimize unwanted noise, distortion, and ground loops.

DI boxes are extensively used with professional and semi-professional PA systems, professional sound reinforcement systems and in sound recording studios. Manufacturers produce a wide range of units, from inexpensive, basic, passive units to expensive, sophisticated active units which provide numerous features and user-controllable options and settings and rugged, heavy duty chassis. In the 2000s, some higher cost bass amplifiers have built-in DI units, so that the bass amp's output signal can be connected directly to a mixing board in a sound reinforcement/live show or recording context.


There's much more on the Wikipedia page.

To answer your second and third questions: no, they won't do anything to reduce feedback; yes, they *might* help get more volume by sending the harp directly through the PA.

Last Edited by timeistight on Jul 11, 2017 5:28 PM
doctom
35 posts
Jul 11, 2017
5:01 PM
Thanks for that!

It would go last in the chain before the PA, right?

I use is 57- Impedance converter - carbon copy delay - amp and PA (I use a signal splitter and the amp acts as my monitor...weird, right?)I have the typical loud guitar band issue, always trying to get enough volume without feeding back.
hvyj
3372 posts
Jul 12, 2017
11:42 AM
Yeah, absolutely last in chain. BUT, many if not most DI boxes give you an XLR out AND a 1/4" out for precisely your application: The XLR out goes to the PA board and the 1/4" out goes to your amp. No signal splitter required.

The arrangement you describe is NOT weird at all. It is a very common set up for guitar. Now, the DI may have an XLR output and two 1/4" inputs. The side by side input jacks are like the double input jacks on a Fender or Marshall amp. You can use one of them as an output. That will route the signal into your amp.

This is superior to using a splitter which may degrade signal strength.

With this arrangement a passive DI is fine. BUT, if you are only going into the PA an active DI can also serve as a preamp of sorts and "warm" your signal and may have some controls that shape tone a little.

BTW, bass amps are never mic'd. The bass is lined out to the PA with a DI. I used to play through a bass amp with an on board XLR line out which was the functional equivalent of a DI and really worked well in situations where amps had to be mic'd.

In my experience, the best solution to the problem of feedback at high volume is to use a big boy amp--an adequately powered amp, not a small amp--and a mic with a volume control. Use the VC to attenuate input and crank the amp. You'd be surprised how much cooling out the input signal will control feedback and it also allows you to set the volume of a tube amp at its sweet spot for superior tone. FWIW.

Last Edited by hvyj on Jul 12, 2017 12:03 PM


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