Tube Direct Box
Ships immediately after order processed!
To Setup a Free Trial in your studio,
Call us Now: 888-528-9703
Thought you’d always need your amp for a great tone?
Well the REDDI is your standalone solution for a world class bass sound.
The A Designs Reddi has continually proven to be one @#!*% of a DI for both bass and electric guitar. We have used ours all over the studio, whether using the REDDI as stand alone DI, or plugging the output of the REDDI into another pre-amp (like the Great River ME1NV or A Designs EM Modules). The REDDI has unbelievable warmth AND detail for an all tube design DI. You've read the reviews on this box, isn't it time you pick one up for yourself?
Check out this clip of Reggie Hamilton and Tony Sheppard talking about Peter's gear! Please be patient, it might take a second to load. A Designs Reddi
A bold statement, yes, but one of many just like it said of The A-Design’s Audio REDDI all-tube DI by an ever increasing number of professional bassists and recording professionals (see below). Designed and built by former career studio bassists, the REDDI has been hailed by engineer and bassist alike as the best-sounding DI around. Inspired by the glorious sound of the Ampeg B-15 tube bass amp, its 6N1-P tube-driven amplifier feeds signal directly into a hefty custom output transformer, which is key to providing a harmonically rich tone. Its wide-bandwidth design from 20Hz to 60kHz reduces in-band phase shift, which results in greater detail and realism in the audible spectrum. Another big plus of its wide-bandwidth design is the prevention of LF phase shifts by maintaining a linear response extending below the audible bass range, which is the secret to achieving a big, full sound.
Complementing its distinctive bright red steel chassis, the A-Designs Audio REDDI has a front-panel Neutrik XLR/1/4″ combo input jack, balanced XLR output, and a 1/4″ thru-put, for those who desire the reassurance of sending signal to a bass amp (before they wind up discarding the miked track and go with the REDDI track alone). There is also a 0-16dB-gain control on the front panel as well. Take note, the REDDI is not a high-gain device. Gain has been carefully designed and controlled in order to avoid the slightest compromise to sound quality. Finishing up the front panel is an extremely bright blue LED power indicator. The exceptional brightness of the LED was intentionally provided for easy visual confirmation that the REDDI is powered on, and also to temporarily blind annoying A&R reps lingering in the control room. On the back panel are toggle switches for power and ground lift, along with the REDDI’s IEC power connector.
Not just for bass, the REDDI’s all-tube circuitry can enhance the character of any instrument run through it; with an airy top end to go with the full, rich mids and bass it also imparts. That’s why Grammy-winning producer Ted Perlman (Chicago, Bob Dylan, Burt Bacharach, Elton John) runs all his guitars through the REDDI. And as long as we’re on the subject, the ever-increasing list of world-class bassists and engineers who rely on the REDDI includes notable bass players, such as Reggie Hamilton, Justin Meldal-Johnsen, Viktor Krauss, Jamiroquai’s Paul Turner, Steve Bailey, Don Boyette, Carlitos del Puerto, and Millard Powers of Counting Crows; along with producer-engineers such as Tony Sheppard, Dylan Dresdow, Ross Hogarth, Billy Bush, Ronan Chris Murphy, and Russ Long.
In fact, you can read below what those industry giants are saying about the A-Designs REDDI. And once you listen to the audio examples at BassTasters REDDI Audio Clips, you’ll also find that the REDDI speaks quite eloquently for itself:
• All-tube direct box with custom output transformer
• Ultra wide frequency range (20Hz-60kHz)
• Neutrik input connector, balanced XLR out, and 1/4″ thru jack
• Inspired by the Ampeg B-15
• Clean and airy high end, warmth, transparency, and ultra high-quality sound
• Level control
• Ground lift
• Ultra bright blue LED on/off lamp
• Zero-feedback loop design
• Massive, custom-wound transformers
• 6NI-P tube
• Low-Z, transformer-balanced output
• Frequency Response 20Hz – 60kHz
• Input impedance: 1M ohm
• Gain range: 16dB
• Noise (EIN): -126dB
• Output impedance: 600 ohm
• Maximum level: +22dBu
• Distortion THD: > .08 @ 1kHz
• Power Requirements: 100/120/230VAC – 42W
• Dimensions (W x H x D) 3-1/2″ x 3-1/2″ x 14-1/2″
• Weight 10 lb. (4.54 kg.)
The San Bernardino Electric Guitar from K-Line Guitars, featured here in the gorgeous Sonic Blue Finish, is a prime example of how observing the tenants of a classic, and improving upon those ideals c...
The San Bernardino Electric Guitar from K-Line Guitars, featured here in the gorgeous Sonic Blue Finish, is a prime example of how observing the tenants of a classic, and improving upon those ideals can be executed with total class. This particular model, is an offset solid body Electric Guitar, available with either Lollar or Klein Standard P-90 Pickups, topped in the super sexy Sonic Blue finish. The San Bernardino is an absolute wonder in terms of its range of tones, extreme warmth and transparency, and stunning clarity. With a variety of different pickups, this beautiful guitar, from the already impressive series of models at K-Line Guitars, will suit whatever style of play you are interested in. Call today to get your hands on this understated, yet powerful new addition to the K-Line Guitars line, or for any questions about any of the gear seen in this video. Call SoundPure at 919.682.5552. or 888.528.973. Equipment featured in this video: K Line San Bernardino Sonic Blue Electric Guitar - Vovox Sonorus Instrument Cable - Moog MF-104M Analog Delay Pedal - Victoria Amps Model 45410 - Royer 121 Ribbon Mic - Vintech X73i Mic Pre Sadowsky MV4 Trans-White Electric Bass - A Designs Reddi - Vintech X73i Mic Pre GMS Drums SE Special Edition 3 Piece Shell Pack
The Springfield, a Strat Style Electric Guitar from K-Line Guitars, has buttery, bell-like tones, a solid feel, and silky smooth playability. This model features an Alder body, Maple neck, Lollar Dirt...
The Springfield, a Strat Style Electric Guitar from K-Line Guitars, has buttery, bell-like tones, a solid feel, and silky smooth playability. This model features an Alder body, Maple neck, Lollar Dirty Blonde pickups, and a classic, black finish. You can hear how well the KLine Springfield handles effects pedals as this video also features a Flickinger Angrey Sparrow Higher Gain Fuzz Pedal as well as the new Moog MF-104M Analog Delay Pedal. For more photos, specs, reviews and more check out SoundPure.com or call our guitar pros at the shop 919.682.5552. or 888.528.9703. Equipment featured in this video: K Line Springfield Black Electric Guitar - Vovox Sonorus Instrument Cable - Flickinger Angry Sparrow Higher Gain Fuzz Pedal - Moog MF-104M Analog Delay Pedal - Victoria Model 45410 Amplifier - Royer 121 Ribbon Mic - Vintech X73i Preamp Sadowsky MV4 Trans-White Electric Bass - A Designs Reddi - Vintech X73i Preamp GMS Drums SE Special Edition 3 Piece Shell Pack
Moog's newest MF-104M Analog Delay Pedal is more than just a revision to the now discontinued MF-104 line of Analog Delay Pedals, it is an improvement upon an already very impressive model. Not only c...
Moog's newest MF-104M Analog Delay Pedal is more than just a revision to the now discontinued MF-104 line of Analog Delay Pedals, it is an improvement upon an already very impressive model. Not only can it still offer all the same functions of it's predecessors, but takes into account everything that was missing or desired from its' devoted loyalists. With 800 MS of Analog Delay, a new 6 Waveshape LFO, complete MIDI control, astounding new capabilities with a Tap Tempo function and the amazing new Spillover Mode, this incredible achievement in audio engineering cannot be overlooked. With the pedal set to Spillover Mode, you can control whether your delay trails continue after bypassing the delay or come to a stop, all completely on the fly while playing. Not to mention, it's still Moog Analog Delay, the beyond comparison, king of kings of analog delay. These pedals even use the same vintage "Bucket Brigade" chips that were so hard to come by in the past.There are also CV/Expression Pedal inputs on the back panel to provide hands free control and manipulation of Time, Rate, Feedback, Amount, and Mix. Of course, with any of the Moogerfoogers, you can connect Moog EP2 expression pedals to any of these CV/Expression inputs to control functions, or connect other Moog Pedals and create entirely new sonic creations. The Feedback Insert also provides further utility, if you need to patch in other stomp boxes or outboard effects onto the same line as the delay, opening up even more flexibility with whatever you want to create. This fantastic Analog Delay Pedal from Moog will only be available for a limited time, so don't miss your chance to own a piece of Analog history! For any questions about this outstanding pedal or any other gear used in this video, please don't hesitate to call SoundPure today! 919.682.5552. or 888.528.973. Equipment featured in this video: K Line San Bernardino Sonic Blue Electric Guitar - Vovox Sonorus Instrument Cable - Moog MF-104M Analog Delay Pedal - Victoria Amps Model 45410 - Royer 121 Ribbon Mic - Vintech X73i Mic Pre Sadowsky MV4 Trans-White Electric Bass - A Designs Reddi - Vintech X73i Mic Pre GMS Drums SE Special Edition 3 Piece Shell Pack
The OAK Team came to Sound Pure for a recording session led by Fletcher. The "Girls With Glasses" session was sponsored by TELEFUNKEN ELEKTROAKUSTIK for their mix contest (go to TFunk's website to dow...
The OAK Team came to Sound Pure for a recording session led by Fletcher. The "Girls With Glasses" session was sponsored by TELEFUNKEN ELEKTROAKUSTIK for their mix contest (go to TFunk's website to download the tracks and enter the mix contest). The session was also sponsored by A Designs Audio, Avid Nolatone Ampworks, Phoenix Audio, Pork Pie Percussion, and Vintech Audio. Check out our other demo videos from this session to learn about the specific gear and equipment used. If you have any questions about specific recording chains, signal paths, or gear, please give us a call at 888.528.9703 or 919.682.5552. Thanks to the Olympic Ass Kicking Team - Terry Anderson (Drums/Vocals), Jack Cornell (Bass/Backup Vocals), Greg Rice (Keys), and Dave Bartholomew (Guitar/Percussion).