As a secondary function, it also allows the HDI to feed two separate destinations at (a hot) mic level, perhaps for separate FOH and monitor systems, which might be useful in live-sound applications. The pad button brings the maximum possible signal level at the line output back down to just +10dBu, which shouldn't cause any problems. It might seem odd being able to pad the line output down to a level which is only around 5dB hotter than the mic-level output, but Radial's reasoning is that in situations where the desired tonal colour is achieved by driving the HDI unit quite hard, the normal line-level output will be in the region of +20 to +25 dBu, and may well be too strong for some consoles or interfaces. Both the mic and instrument outputs enjoy the same 20dB (give or take) headroom margin above their nominal levels. The mic-level output operates with a nominal level of around -16dBu - equating to a fairly 'hot' mic signal - while the unbalanced processed output has a nominal level of -12dBu, which is a typical 'instrument level'. A button alongside the socket pads the line output down by 15dB, if required. The obligatory shot of the inner workings - it's all very high quality.The HDI's nominal line output level operates at a standard +4dBu, with just over 20dB of headroom before clipping at +25dBu - so it's a fully professional specification. The processed output could be sent, for example, to an on-stage monitor. This is labelled 'Processed Output', simply to differentiate it from the front panel 'Thru' output (which, obviously, is not processed). There's also an unbalanced instrument-level output on a quarter-inch TS socket. The line output employs a custom version of the JT‑11‑DM transformer, modified to include an extra 'bias' winding (more on that below). The first is a transformer-balanced line-level output on an XLR, and the second a mic-level output - effectively a built-in DI in a line-level DI box - which is derived from the line output via a standard Jensen JT‑DB‑EPC transformer. A universal (100-240 V AC) IEC mains inlet with integral fuse holder is joined by three outputs. Rearing UpĪn engineer at heart, I tend to examine new products from the rear panel first, and the HDI's is very simple. The outputs from these two signal paths can be combined for the desired amount and character of coloration at the final output. One is an ultra-clean and accurate direct path and the other a controllably distorted one. It's important to appreciate that the HDI's structure is based on splitting the input signal into two. These are generously supplied with each unit, rather than as expensive accessories - a nice touch. The HDI ships as a stand–alone desktop processor, but can also be rackmounted (occupying a 2U space) singly or in pairs, using rack ears and a joiner-plate. That's precisely what Radial offer in their new HDI - which they describe as a 'High-Definition Studio Direct Box' and say provides the functionality of a DI box and the musicality of a guitar amplifier.ĭespite its name, the HDI certainly isn't only a DI box for studio use it could equally well be used on stage instead of a backline amp. And if miking an amp is impractical, a convenient alternative might be a DI box that can introduce the desired musical colour. The simplest solution is to achieve the desired colour at source, rather than in the computer. While that's now very easily achieved in the DAW, the problem remains of how to add that kind of appealing tonal colour without also introducing performance-wrecking latency to the monitoring, or when performing live. The sound from a DI or instrument input - whether a stand-alone one, or one built into a mic preamp or audio interface - typically requires some additional sound processing, such as amp modelling. This studio DI box goes further than most, adding character to a range of sources.
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