The Useful ArtsBF-S PRO DIis everything youād expect in a high-quality, all-tube, single-channel studio DI. Besides the IEC power receptacle on the back, all connections are on the front panel. Audio I/O includes instrument-level 1/4-inch TS IN and a THRU jack. A 1/4-inch TS output is ideal for feeding guitar or bass amps while simultaneously recording the direct signal from the XLRās mic-level output. Thereās a HI/LO Gain button and a switch to engage the two-band EQ (when in LO Gain mode). The unit is solidly built, with a beautiful red enamel face with three nice, large rotary controls for LF, HF, and Output gain. Pure mode switches to a āhi-fiā line-level output. A ground lift button is also provided for the XLR output. Useful Arts claims theBF-Sto be flat from 15 Hz to 80 kHz (Ā±2 dB) ā I can confirm that this a very full sounding unit!
Useful Artsā concept behind theBF-S PRO DIwas to incorporate the audio circuitry of the BF-1 tube DI with the linear power supply from the SFP-60 preamp [Tape Op#138], resulting in increased clarity and headroom with almost noiseless high-voltage tube performance. A different method of impedance conversion provides an increased depth and clarity over typical DIs, and one Useful Arts has tailored specifically for recording purposes. A sprinkling of second-order harmonics delivers a tasteful enhancement without overly affecting the fundamental character of the instrument.
When it first arrived, I patched in theBF-Sand tried a few different sources. Electric guitar sounded like, well, a DIād electric guitar ā but to be fair, I just donāt like DIād electric guitar. My microKORG synth, however, soundedquiteimproved. Just playing around with different sounds was fun, as I could pick out distinct delays in patches, and control movements with the synth were easy to hear. I tracked some drums with theBF-S, using an old ātape deckā mic with a TS connector as a drum āstunt mic.ā You could definitely hear the limitations of the micās frequency capture, but the sound through theBF-Swas super clear. Iāve been doing a lot of remote drum tracking lately for other artists, and I like giving them some alternative sound options. TheBF-Stracked āstunt micā setup worked well on a few tunes in this instance.
The thing Iāve done most with theBF-Sis to record bass guitar, and this is where the Useful Arts box really shines. Iāve never been a āgotta have a high priced DIā guy, but when the session goes into the overdubbing stage, typically the bass player and I are in the control room together, and they plug into an outboard mic pre. With theBF-S, I patched its output into my Neotek Elan consoleās mic pres, and the results have been full and clear. After such great initial sound, I jumped into exploring the EQ section. The HF EQ is thebusiness! Just turning it up added definition and cut to the Fender P Bass in a perfect way. A few weeks later, when tracking a different artist using the same bass player (and bass), he was using a pick that was more appropriate for the ā90s punk-influenced track we were working on. In this instance, the LF EQ brought out some of the body the pick took away, all while maintaining the vibe and attack of a picked performance.
As I continued using theBF-S PRO DI, I started to think of it as a simple tracking EQ, more than just a one-purpose DI. While players were working through their songs, I adjusted the EQ knobs to get the instrument sitting in the track in the best way. Some may call a high end DI an essential piece of studio gear, while others may regard it as a luxury or added bonus. Whichever camp you find yourself in, the Useful ArtsBF-S PRO DIapplies to both concepts. I found it to be a perfect tool for adding tube warmth and depth thatās as simple to use as the off-the-shelf passive DI you bought at the music store all those years ago.
($999 MSRP;usefulartsaudio.com) -Tony SanFilipporecord@oxidelounge.com