Either an active or passive DI will do, while the former tends to be more hi-fi and transparent for the absolute cleanest signal. Normally you don’t want to color the dry signal too much, because you’re going to do that later with all your favorite guitar gear. Generally speaking-and feel free to experiment-using the simplest DI offers the best results. The amp will react the same way as if you’re playing it live, but you’re using a pre-recorded signal to feed it instead. That’s so it interfaces with an amplifier the exact same way a guitar does when you plug into it. On the other hand, a reamp box converts a balanced line level signal to an unbalanced instrument level signal. That’s how we get the clean track recorded. A DI converts an unbalanced instrument level signal to a balanced mic level signal. Unless your device is a 2-in-1, you’ll need both a DI and a reamp box to properly perform the reamping technique. The flexibility that reamping offers is amazing. Run the signal through different amps, different effects, make as many microphone adjustments as you want, and more. Step 3: With your DAW sending the DI-ed guitar signal to a reamp box, you can start experimenting.The microphone you put on the speaker gets the signal back to the DAW for recording. Then run another cable from the reamp box to a guitar amp. Step 2: Send the clean signal in your DAW through an output on your interface to a reamp box.You can record both the dry signal as well as the amp signal at the same time. Plug the guitar straight into the DI, send the Thru to an amp so the player can have the sound and feel they’re comfortable with, and take the Out to your interface. Step 1: Capture a clean signal signal from the guitar using a DI box (some reamp boxes are 2-in-1 with a DI included).Once you have all the takes you need, you can send the guitarist home! The fun begins when you can take their DI signals and run them through your collection of amps, effects, and mics. Record the performances with a scratch tone the artist is familiar and comfortable with, and get the sound right for the mix later. That means you’ll need to get up and running fast to capture the best takes.īut what if you didn’t get the ton dialed in all the way? That’s where reamping comes in. Usually a musician delivers their best performances early in a session, while they’re still fresh and not fatigued after 10 hours in the studio. First and foremost, you have to put yourself in the guitarist’s shoes. To put it simply, reamping is a process in which you record a clean DI, and then send the clean track through your amps, effects, and mics for re-recording. A reamp box is a specially designed device that allows you to send a clean guitar signal from your DAW to an amplifier, letting you tweak tones on the fly using a pre-recorded signal. The EXTC-SA™ is a unique interface for connecting guitar pedals to the inputs and outputs of pro audio equipment such as recording interfaces or mixing consoles, allowing you to incorporate your pedals in new and creative ways.Reamping takes place in two stages during both the recording and mixing phases. The Reamp® JCR utilizes the original Reamp circuit designed by recording industry legend John Cuniberti, providing exceptional audio quality that preserves every detail of the original recording while optimizing it to feed amplifiers and effect pedals. Reamp JCR – John Cuniberti Original Circuit The Radial X-Amp™ is a dual output class-A active Reamper™ that lets you take a pre-recorded track and send it through amps and pedals without noise.ģ. This means if does not require any external powering. The Radial ProRMP™ is a 100% passive Reamper™. We used the J48 to record a clean, direct signal that was later used for Reamping. Here we explore the differences between each option and which is best for you. Radial Engineering offers four different tools for Reamping. It sounds arduous and time-consuming, but bear with me here: this process could actually save you tons of time and revolutionize the sound of your music. As the name implies, it’s where you take a pre-recorded track and “re-amplify” it back through a speaker to achieve a tone that properly suits the song. A popular adage with recording is “garbage in – garbage out”, implying that you’re doomed if you mess up the tracking process, but what if there’s a way around this? Getting a good guitar tone is easy, settling on the perfect tone is impossible until you can hear it in the context of the mix.
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