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cubanice27
New member
Hey, since Im recording bass, can anyone list me a few good direct boxes that range in price from $20-$100 bucks?
The Cancers
New member
Check out the Radial DIs. Their cheapest models are right at $100, but they are quality units.
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skiscem
New member
check the sansamp bass DI, they are going for $100 on the used market, lots of features for the price
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oretez
Hwy 50
In $20-40 range simply toss a coin on what ever is readily available
I keep an Horizon single and dBX branded dual in the field/live recording tool kit I'm certain neither cost more then $100 (Horizon has been in service well over a decade possibly closing in on 2 decades of 'rode hard put up wet' service)
In studio I've got several Radial boxes. Standard single passive DI 'Radial Pro' comes in @ just about $100. While I do not buy their marketing pitch if your console has a Hi-Z input the $50 Radial Tonebone Dragster might be helpful
While a bit out of your listed price range I started using the Tech21 SansAmp Bass driver, well longer then the Horizon DI, still have the original (metal case with fewer options then current model) and field/live tool kit has one of the plastic case more or less current models. It is pretty universally the tool I reach for to DI electric bass. In studio even if I'm mic'ng bass I will almost always track via SansAmp as well . . . might or might not use that track in any way shape or form . . . but over years have found it useful
(anecdotally only had one player be incensed over the concept . . . threw typical musician snit fit over how he had spent years getting just the right sound (I was not, not tracking amp etc. just was throwing in dry DI track as well) . . . interestingly, to me, rather then fighting to settle the bass into the mix just brought in session player between tracking and mixing redid all the bass tracks in a single session (including one where we used an electric stand up) . . . it was an ethical as well as aesthetic issue . . . ethical was resolved by fact it was cheaper to retrack (almost always is, 'fixing it in the mix' is seldom cheap) Session bass arrived with late sixties Ampeg combo and his own Sans Amp
Client either didn't know or didn't care. returned to track four tunes from their next project (albeit with a different bass player) . . . this has more to do with psychology then gear but while I nearly always prefer to try to 'mic' the SansAmp bass driver has been a valuable asset for a lot of years)
I keep an Horizon single and dBX branded dual in the field/live recording tool kit I'm certain neither cost more then $100 (Horizon has been in service well over a decade possibly closing in on 2 decades of 'rode hard put up wet' service)
In studio I've got several Radial boxes. Standard single passive DI 'Radial Pro' comes in @ just about $100. While I do not buy their marketing pitch if your console has a Hi-Z input the $50 Radial Tonebone Dragster might be helpful
While a bit out of your listed price range I started using the Tech21 SansAmp Bass driver, well longer then the Horizon DI, still have the original (metal case with fewer options then current model) and field/live tool kit has one of the plastic case more or less current models. It is pretty universally the tool I reach for to DI electric bass. In studio even if I'm mic'ng bass I will almost always track via SansAmp as well . . . might or might not use that track in any way shape or form . . . but over years have found it useful
(anecdotally only had one player be incensed over the concept . . . threw typical musician snit fit over how he had spent years getting just the right sound (I was not, not tracking amp etc. just was throwing in dry DI track as well) . . . interestingly, to me, rather then fighting to settle the bass into the mix just brought in session player between tracking and mixing redid all the bass tracks in a single session (including one where we used an electric stand up) . . . it was an ethical as well as aesthetic issue . . . ethical was resolved by fact it was cheaper to retrack (almost always is, 'fixing it in the mix' is seldom cheap) Session bass arrived with late sixties Ampeg combo and his own Sans Amp
Client either didn't know or didn't care. returned to track four tunes from their next project (albeit with a different bass player) . . . this has more to do with psychology then gear but while I nearly always prefer to try to 'mic' the SansAmp bass driver has been a valuable asset for a lot of years)
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Ephi82
New member
Sans Amp Bass Driver DI
Outstanding sounds from acoustic bass, to old school full on warm and overdriven tube amp, like an Ampeg flip top (roll off a bit of high and low end and get an early Beatles Macca tone) to late 60's/early 70's Fender Bassman to Classic/Hard rock Ampeg SVT, without needing a truck to move it!
In my experience, and for many others, the most difficult sound to get on recording media is an electric bass amp! Use this and spend your time playing the bass, not recording it!
Outstanding sounds from acoustic bass, to old school full on warm and overdriven tube amp, like an Ampeg flip top (roll off a bit of high and low end and get an early Beatles Macca tone) to late 60's/early 70's Fender Bassman to Classic/Hard rock Ampeg SVT, without needing a truck to move it!
In my experience, and for many others, the most difficult sound to get on recording media is an electric bass amp! Use this and spend your time playing the bass, not recording it!
