Nord User Forum

https://kevinology.notion.site/DI-Box-P ... 3c05e6fd01

Hello, I'm Kevin from South Korea and I had posted this link before.
I've tested 15+ Boxes and I hope It helps you to choose your best DI!
Hope you luv it!

Kevinology wrote:https://kevinology.notion.site/DI-Box-P ... 3c05e6fd01

Hello, I'm Kevin from South Korea and I had posted this link before.
I've tested 15+ Boxes and I hope It helps you to choose your best DI!
Hope you luv it!

Awesome work you did there man congratulations


What do you mean by customised at the j48 radial??

I think I mentioned this before, it would be useful to do a spectral analysis of the input and the output. You could also use Ethan Winer's concept of the Null Tester: otherwise it is difficult to make any objective conclusions.

Mr_-G- wrote:I think I mentioned this before, it would be useful to do a spectral analysis of the input and the output. You could also use Ethan Winer's concept of the Null Tester: otherwise it is difficult to make any objective conclusions.

At the end of the day we care for the hearing differences and not for the technical

I'm not very experienced in stage tech, but I'd rather go with Mr_-G- if it's about the sound of a DI box: My hearing is not that much developped that I could judge a (better) DI box by it's "sound". I'd prefer a neutral signal path for keyboard sounds or at least some figures to be able to rate the transmission. While I'd agree with you, M1tsos, if it comes to the sound of a microphone.

Strange, is a DI box making the sound better? In my opinion not. The output of a Nord is not balanced, balancing will introduce distortion and that is changing the sound. Perhaps for some sounds it will make it warmer.
DI is only needed for long distances (10+m or longer) to avoid hum or ground-loop issues. For strong line signals this is not that much needed. Most digital mixer are have AD converters on stage and no analog signals going towards the mixer.
We do our own sound, I have a 9m snake with stereo un-balanced mix from my keys and a stereo un-balanced aux back from the table.
Never had any issues with hum.
YMMV, but for the rare cases with longer analog lines the rental or sound-engineer will supply some DI.
I never owned a DI in 30 years of gigging, not sure what i'm missing. The super-duper stereo Radial is serious money.
Perhaps we have better controlled power in the Netherlands.

FZiegler wrote:I'm not very experienced in stage tech, but I'd rather go with Mr_-G- if it's about the sound of a DI box: My hearing is not that much developped that I could judge a (better) DI box by it's "sound". I'd prefer a neutral signal path for keyboard sounds or at least some figures to be able to rate the transmission. While I'd agree with you, M1tsos, if it comes to the sound of a microphone.

The same thing is happening here my friend.. some di are high end which means nothing lose in the signal the cheaper di boxes are losing freqs and harmonics or they have a but more harmonic distortion in some freqs which makes the sound result lower in quality.. some high end microphones have higher frequency response because their materials are A class.. the audible detail in the microphones are bigger compared to di boxes but believe me if you have a good pair of speakers or in ear monitors and you start swapping di boxes then you will notice the sound difference..

I even notice sound difference in the cables

All this is because i trained a lot my ears and i still train from when i started sound engineering

Eriknie wrote:Strange, is a DI box making the sound better? In my opinion not. The output of a Nord is not balanced, balancing will introduce distortion and that is changing the sound. Perhaps for some sounds it will make it warmer.
DI is only needed for long distances (10+m or longer) to avoid hum or ground-loop issues. For strong line signals this is not that much needed. Most digital mixer are have AD converters on stage and no analog signals going towards the mixer.
We do our own sound, I have a 9m snake with stereo un-balanced mix from my keys and a stereo un-balanced aux back from the table.
Never had any issues with hum.
YMMV, but for the rare cases with longer analog lines the rental or sound-engineer will supply some DI.
I never owned a DI in 30 years of gigging, not sure what i'm missing. The super-duper stereo Radial is serious money.
Perhaps we have better controlled power in the Netherlands.

The distance need for di was before years because of analogue gear and multy cables from stage to foh mixer and only passive di boxes back then.. now with cat5 and cat6 stageboxes the latency isnt audible and all the big proffesional digital mixers are only xlr inputs .. so you need a di at least for matching the input impedance

M1tsos wrote:

Mr_-G- wrote:I think I mentioned this before, it would be useful to do a spectral analysis of the input and the output. You could also use Ethan Winer's concept of the Null Tester: otherwise it is difficult to make any objective conclusions.

At the end of the day we care for the hearing differences and not for the technical

Not sure what you mean by that. I do not think I would like to spend the price of a small synth in a fancy DI box as opposed to another cheaper one when there are technically no differences that can be measured at the perceptual level.
There is a whole industy trying to push miracle cables and plugs that make absolutely no difference (and that can be demonstrated unequivocally). DI boxes is another part of the market which is missing technical detail on how good or bad they are.

I can hear difference in cables.. especially the vovox high end ones.. we even made it with closed eyes and everytime i knew which cable was