PinkMohawk

Agreed, it's pleasantly even across all the strings, nothing gets muted too much, can go on pretty quickly as well, though it's a little fiddly at first. It'll get easier with time, but right now, I'm very happy to have it in my gig bag, ready for any classic moments I need to get thuddy for.

Very nice, did you notice any issues with tuning or anything like that once the mute noodle was on?

I got an email saying that they're still waiting for them to arrive, though it should be in the next few days. Didn't buy from the same place as you though, so we'll see whose shows up first.

Sounds great, but damn does that pickguard piss me off.

As far as I can tell, it's just making light contact with the G, I'm ordering one now so I'll report in later when I get it.

It's now available in the UK, and from the demo's I've seen, it does an excellent job of muting without muting too much. That, and it's less than a tenner, so it's much better priced than the Nordymute.

I think it depends on the use case of the two I mentioned previously. Personally, when I'm playing, give me all the control, if it took a 9V from my PSU, that's all good with me. Footswitch? Knobs? Load 'em up. It's when I'm running the desk I want as few frills as possible. When I'm reaching for the DI that's in my peli it's because the player wasn't adequately prepared with their own solution, so now they get the cheap and cheerful DI I keep in there. Of course, the unfortunate reality is that no single solution will satisfy every single user. So, with that in mind, I'd say make the DI you want to make, and let the intended audience find it. I use cheap and cheerful DI's in my peli because: 1. I need to be absolutely sure it'll work. 2. I don't care if it goes for a walk afterwards. Something like you've designed, that'd be going on my board, that'd be my nice DI. That's where I'm interested in having all the ideal conditions, the controls, the high impedance.

That's a slick little design you've got! I just had a look over the manual you posted, I like the look of it a lot. So personally, I have two use-cases for DI's, when I'm performing, and when I'm running the desk. There's no overlap for me, I'm not in a band where I have to run out to mix the show while I'm playing it. When I'm performing, right now my DI boxes go at the end of the chain, kicking the parallel to any amps I might be running, with the XLR's going straight to FOH after all of my effects which are relatively simple, mainly heavy drive, amp sim, sometimes pitch effects. That'll change when I finally make the switch to an Anagram, where I'll be splitting the outputs internal to the pedal, using the XLR outs to go to FOH with amp sims, and the 1/4" outs to go to amps, before any amp sim on the pedal. When I'm on the desk mixing a show, DI's are right before the amps as well, and I leave it to the performer to put whatever they want in front of them. For me, the name of the game is reliability. I need to know that when I bring that fader up, I'm getting sound, and it sounds like the player. If I need to tweak things, I usually have some form of EQ on the desk, whether it's a basic analogue channel strip or a full graphic EQ on a digital desk. That said, giving the player a little control over their DI tone with that shaping knob is a great idea, letting them adjust what they're getting out of the monitors a little without trashing what I'm getting at the desk. If I could add my two cents to your current design? As a player who'd mount this to my board, I'd love to see all the inputs and outputs on one side of the pedal. That's just a personal preference, I like having my 'final stage' on the pedalboard to be like that. As an engineer who'd throw this in my pelican for a gig, I'd love to see the controls be turned into something low profile. Trim pots accessible through the enclosure, etc. This is an organisational thing. Engineers often carry DI's in their pelican cases (I've got three of the most basic, passive DI's I could find in mine as my emergency DI's.) and it's already tight for space in there. Having the enclosure as low-profile as possible, with as few things sticking out as possible would make it that much more tempting to have these as my go-to DI's instead. Hope this all helps!

Very nice, look forward to ending up having to cart around a rack unit when the rest of the band realise that they should be on IEM's as well.

No kidding, I was running sound over at The Crown, my uni volunteers us students, as well as some of our equipment, to help out. We supplied The Crown and The Star (outside), and we had students all over the place.

100% agreement. Just ran sound for a stage at this years Oxjam in Beeston. The only problem I ran into all day? Active DI's not giving me any signal. Phantom power on, should have been getting me plenty of output but I wasn't getting diddly except noise, and these were decent DI boxes too. What saved the set? The pair of cheap, nasty Behringer DI400P's. You know the ones, the basic black metal boxes that everyone turns their nose up at. Worked perfectly as soon as we swapped them in. Chucked the other DI's back in the gear box and ran with the Behringer's for the rest of the day with 0 issues. Packing out my new Peli soon, ordered 3 of the Behringer's as my emergency DI's. At the end of the day, I want as little to worry about as possible. Plug and play is the name of the game, I don't want to have to muck about wondering why I'm not getting signal, I just want it to work, and passive DI's just work.

https://www.instagram.com/reel/DNq5MGoyzbe Not sure if anyone is paying much attention to this, but I noticed that these have gone up for pre-order on Long & McQuade, a Canadian retailer I believe, with an 'in stock' date of 30th November. Whether that'll carry over to the UK, I'm not sure. Managed to find an Instagram video of a guy who's got hold of one, no clue what his setup is apart from it being an MM style bass, but it's definitely an aggressively muted sound he's getting from it.

Great tone, great playing, I do find it hilarious that he's playing a Sire bass, but he's still using a Fender branded strap.

Mainly, it's that we disagree that sound engineers should be dictating what's on stage and in use. When I was touring, I rolled with 2 8x10's and that was that, I was happy to work with engineers but they didn't get to dictate terms to me. As an engineer now, I don't tell bands what they can and can't use on stage, I'm there to figure it out and make it work. Will I ask them to turn down? Sometimes, if I have to, but in a small venue, I'm just as likely to let them turn it up and just not have them in the PA.

Yeah, feels very high-handed. I don't like to put my own character onto a bands sound unless that's something that they want me to do. I find it's better to just amplify what the band gives me and fix obvious issues.