Thank you for your comment and advice. That’s very insightful indeed and it looks like I have a lot to learn. I’m kinda relieved by the symmetrical in output, as you mentioned, because I was thinking that the box would kinda act also like a signal normalizer for all the various signals from different equipment fed to it since it outputs same for all at +11.5dB. So, on top of that, reading your comment about symmetrical output was a big relief. Yeah those harmonics are really standing out with this box. Perhaps, despite the passive nature of the transformers, as you stated, this one is always active regardless of the instruments active or passive pickups and that could explain the beefed harmonics. I appreciate you taking the time and clearing out many areas with your comment.

@@itdwellswithin I think wwe mean different things when speaking about "active". I mean "supply voltage is required to be functional" and you mean "is in the signal path". Here is a short explaination of how active DIs are intended: An active DI (Direct Injection) box is a tool for connecting high-impedance, unbalanced audio sources, such as electric guitars, keyboards, or synthesizers, to low-impedance, balanced inputs like those found on mixing consoles or audio interfaces. Its primary purpose is to maintain signal integrity, reduce noise, and resolve impedance mismatches while preserving the tonal characteristics of the source instrument. The signal enters the active DI box through a high-impedance, unbalanced input. Active circuitry, powered by an internal battery, phantom power from the mixer, or an external power supply, buffers the signal using a high-input-impedance buffer amplifier. This buffering minimizes the load on the source, ensuring that the instrument’s tone remains unaffected. The circuit then converts the unbalanced signal into a balanced one, which is crucial for reducing noise over long cable runs. Balanced cables achieve this noise reduction through common-mode rejection, which cancels out interference. Active DI boxes often feature adjustable gain controls or pad switches, allowing users to attenuate high-output signals, such as those from active pickups or synthesizers, to avoid clipping. The balanced output signal is sent to the mixer or interface via an XLR connector, providing a clean, noise-resistant connection. Many active DI boxes also include a ground lift switch to eliminate hum caused by ground loops by disconnecting the ground link between input and output. The active design enables these boxes to handle signals with exceptional clarity and headroom, but they require an external power source for their operation. Transformers in audio, on the other hand, are passive devices used for tasks such as impedance matching, signal balancing, and isolating circuits. A transformer operates on the principle of electromagnetic induction, consisting of two coils of wire (the primary and secondary windings) wound around a magnetic core. When an alternating current signal passes through the primary winding, it generates a magnetic field in the core, which induces a corresponding voltage in the secondary winding. Transformers match the high impedance of sources like electric guitars to the low impedance of mixers or amplifiers, ensuring efficient power transfer, and they can convert unbalanced signals to balanced ones by producing equal but opposite-polarity voltages across the output. They also provide galvanic isolation between circuits, breaking ground loops and reducing hum or noise. Because transformers rely solely on the energy of the input signal to operate, they do not require external power. Only the buffer does. Hence active DI. Cheers

Now that makes it so much clearer for me to understand. Right..so active circuitry enhances the clarity and headroom and the power is for the amp buffer. Really appreciating your time and interest to provide such an in depth explanation that has taught me a ton more in depth detail about the principle of transformer operation.

Nice. I'm driving them with the RNHP.

Thanks for the tip! It took your comment to direct my attention to it and..oh my…it’s set up so aggressively tightly. I’ll adjust that. I really appreciate this.

Thanks for your comment and really glad you’ve found this helpful. Actually, no pair of headphones is flat. It is kind of impossible technically. I thought so too initially only to learn that every pair has its colour. That’s why sound id is so useful. Same with speakers. Traditionally, the corrections made inside the room would shape the frequency response curve to taste in order to flatten it by trial and error. That is the manual way. And sound id is the final step to make any necessary final corrections actually.

Nice. It’s a solid way to omit all the obstacles and expenses in between. The range is so vast but there are a few in all price ranges that stand out, like the 1990s being one, in the somewhat medium price range and the Audeze mm500s going off the chart though.

Awesome! The only video wow lol. I thought there would be thousands already. Glad it was helpful to you! I posted it because it was like a discovery to me too learning and figuring out how to do it..

Thanks for watching and really glad you liked it!

Thanks for the comment. Short answer: not sure. But, and just in case you want my insight on this and how I would usually use these kind of libraries (just me) you can read the following: In short, and if my understanding is correct regarding your comment, you could control the sustain articulation from your daw, externally via pedal, or just drawing it. If I wanted to put sustain on a MIDI bass note in this library I would just drag-extend it until it reaches the start of the next note or extend it continuously to taste and the note lasts. In this way we just making it sound like it's smoother, except the "cut" played part of each note as it was pre-recorded is covered and we cannot hear it since the notes are sustained and continuous to each other in sequence. Very rarely I would play MIDI syncopated notes exactly because of this reason: the ending is too harsh. What I would do in this situation is probably try to do the same thing (what you're trying to do) by using the DI bass (if you're not doing this already I mean) and then, put compression/distortion/processing etc on your DI. The DI doesn't sound so harsh by itself and hence, afterwards by applying your own processing chain. The plugins (kontakt's processing chain is kind of open-close on each and every note so I believe (just my opinion) that that also contributes to the harshness (abrupt cut). When the samples were recorded it makes sense that the maker played each note and muted it after some time. That mute is being amplified by the extra processing in the Kontakt instrument. I was experiencing the same issue on a song of mine where the ending was just a bass note ringing and lasting continuously, like an open chord on a guitar plays until it fades. And I was using contacts distortion tone (not external processing), so the guitars would fade out naturally but the bass was suddenly being cut anywhere the midi note ended. So I just rendered to audio the last bass note and processed it with fade out in audio. Hope the above helps.

Thanks! Glad you liked the video, and the guitar too!

Thanks for the comment! You just might, never say never! For the time being though, due to the long duration of this song (12min), releasing small playthrough sections seem more pleasurable and enjoyable for the viewer and make more sense to me releasing them this way. Because, I bet most of the viewers/listeners would enjoy this song in small snippets/chunks more rather than every single viewer staying interested for 12min to watch the full playthrough.

@@itdwellswithin 12mins whoa! Yeah I didn’t realize that it was so long. I think you are right… 5mins tops haha 🤘🏼

@@perrtownlol yeah 😂😂 5mins sounds just about right 🤘

Thanks for the good words and super glad you like it! Full play through is a good idea and would be THE marathon lol Especially for this song which is 12min... I tried to keep it in parts because most of the people would get bored quickly at some point within the 12min..

@@itdwellswithin Yes, the complete music is difficult even, but could do some sessions and some riffs, or as you think of the theme to build the riffs

⁠​⁠@@julianoabarreto 🎯yeah that was the idea initially. To pick a few riffs and showcase the before and after…since it’s kinda difficult to me to extract the theme for this song lol. A separate / fresh pair of ears might be able to better isolate “the theme” for this song :)

Yes it does indeed. The amount of time I’d say varies with the complexity of each part. You get better by the time, on which articulations to use at each section in order to make it sounding more realistic. And you can “on/off” them manually by deleting and undoing deleting while the part plays to get a real world idea on how it sounds with and without and choose accordingly.

My sincere pleasure brother! The honour is all mine 🙌💪💪💪

Thanks for the comment and you're welcome. Well, it surely be great to own both haha. It would immensely add to your tool palette and flexibility. Two of the most vital plugins imho.

Thanks :) Actually I’ve never tried the euro bass so can’t tell you anything of much use on this. I went straight with the DjinnBass. It just fits my taste and use of it perfectly and I could say that it can be pretty manageable (tone shaping-wise). After all, you’re actually getting a much newer, and hence more meticulously sampled, and that bass, being a heavy armoured Dingwall is really fuller sounding raw bass tone imo. So you’re getting a really well captured DI and from there on you can shape it the way you want (like use the en-suite distortions or shape it by making your own plugin chain to give it the character you want every time).

@@itdwellswithin Yes, that sums up most of my thoughts too. Thank you!

You’re welcome!

@jesusbarrosoriveriego Good question, I think it was just dual tracked because wrote and recorded it really quickly.