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The Countryman type 85 is my favorite commonly available active DI for the stage. One thing worth mentioning when A/B ing the type 85 vs another active DI is that the XLR output is pin 3 positive unlike the modern convention.
While absolute polarity shouldn’t matter in isolation, the situation on a stage with wedges is different. The DI being out of polarity can make an audible difference to the performer. Your video reminded me of this because you seem to follow the same convention.
 
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The Countryman type 85 is my favorite commonly available active DI for the stage. One thing worth mentioning when A/B ing the type 85 vs another active DI is that the XLR output is pin 3 positive unlike the modern convention.
While absolute polarity shouldn’t matter in isolation, the situation on a stage with wedges is different. The DI being out of polarity can make an audible difference to the performer. Your video reminded me of this because you seem to follow the same convention.
Actually there are many things that can reverse polarity. In particular how does the pick-up react to the mechanical stimulus of the pick/nail? The movement of the pick is parallel to the soundboard, does it result in an outward or inward move of the soundboard (positive vs. negative sound pressure). How does the pick-up react to pressure? I don't think there's any standard in this respect... The way the player picks actually alters the perceived sound quality of the DI output.
This uncertainty is the reason why polarity should always be checked when using a DI. Non-reversal of polarity in the DI box is not a guarantee of better result. It's a good reason for having a polarity-reverse switch on the instrument. The common belief (and marketing argument) is that flipping polarity improves feedback resistance. It's not true; it does change the feedback frequencies, but does not offer significant reduction. What it does is giving the player two different sound options, that they can choose which one they prefer.
 
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