JoshOmachine

Brought an EBS Multicomp from Scooby. I had to be a little demanding because of a time constraint but he accomodated me completely and went well out of his way to get me the pedal in time AND his comms where perfect. Pedal was in faultless condition and well packaged etc. Would really recommend buying from Scooby.

[quote name='rmorris' timestamp='1364247951' post='2023915'] But in this case the DI has already provided a 'Line' (or thereabouts) level so it would likely be best to take the '0dB' line level output to a line input. The details really depend on the internal circuitry of the mixer but it's essentially all about gain mapping. Attenuating a signal then boosting it again results in a worse signal / noise ratio so ideally you only want to attenuate at the last stage you can so you are cutting all the noise as well as the signal. It gets a bit more complicated depending on the available headroom etc but that's the gist. Where it's essentially a passive transformer DI then that will want to go to a mic input. Essentially the transformer trades a higher impedancce / higher level signal for a lower impedance / lower signal level and balances it into the bargain. But where you have active electronics you can get a 'line' level output that is low impedance and balanced. Strictly 0dB is a relative level but I guess they mean 0dBu or similar which defines an actual signal level. 'Standard' proffesional line level is nominal +4dBu witha maximum level of around 21dBu or greater. The '-20dB' pad makes the level generally suitable for amplifier inputs / fx pedals etc ( I have a Sansamp BDDI with similar output level options) [/quote] Why would the DI be giving a line level? Also traditionally you should be attenuating at the source so that the mixing desk 'sees' a level that is as close to +4db (u/v/m). That way it can be processed by the desk/effects/outboard without the need for any further gain structures until the point it is sent to the sound reinforcement (loud speakers/amps etc) for the reasons you gave. Obviously gain structures do appear but the idea is to eliminate as many as possible. dB(u/v/m) are all relative levels as they are all relative to ground hence partly the need for that 3rd ground wire. The reason the figure 20dB often used for attenuating pads is that it is 4 times less the perceived volume of the signal and that it is roughly half the voltage of the signal, which is the important bit for the desk. The only 'defined' dB rating commonly used is dBspl or decibels over sound pressure levels which is the calibrated measure used to denote a loud speakers sound reinforcement capabilities. Or for licensing venues/events an agreed volume at a certain distance. I wrote a paper on DI box design while at uni that I may have to dig out now. Unfortunately it was research into digitally controlled analogue gain structuring but the principles are the same.

So technically I've been here before signed in under my Facebook account but only to be cheeky and use the marketplace but decided that as I read this forum regularly I should definitely start posting. Been playing bass for a few years now and mainly for church keeping it funky. 'Sadly' its become my most played instrument whereas before I was regularly touring and playing as a trombone player. Studied Audio Electronics at university and still do a reasonable amount of ease analysis and repairs, designs etc for people. But, I went in to Security and training predominantly to do with large concert venues and festivals. I was one of the security managers at last year's wash out of IOW so apologies to anyone stuck on a ferry Have worked, planned and managed all kinds of venues/events such as Glastonbury, Leeds and Reading fest, download, the O2, Wembley, Brixton Academy etc. Which of course means I've been lucky enough to see every band I have ever wanted to with the exception of Toto. Looking forward to getting more stuck in especially with the electronics/technical discussions. Thanks guys!

Definitely the Mackie SRM450's are the obvious go to choice, the only reservation I would have about them is that if you extend your sound reinforcement at any point then I have found that finding a sub that fits well with them is really difficult and can need some serious crossover work to get it right. Other options are the EV elx112p or elx115p which are a little better than the mackies but more expensive, and the Yamaha drx15 which is a little cheaper and similarly capable. Those are the only 3 in that bracket I've used and would rate.

Hi Richrips Where are you based? (Apologies mobile site doesn't show locations). If you're anywhere near North London I would be happy to have a look for you, I have no experience of this particular effect but regularly make and repair effects, amps, speakers, mixing desks etc. So even if I couldn't fix it I could probably tell you what was wrong with it.

And yes it is the same for all of the other instruments. As a rule DI boxes should always go straight to a mic input as their job is to take a line level unbalanced signal and transform it into a mic level balanced signal.