![]() ![]() ![]() Or you can re-amp the guitar then use the original track for some sections of the song and the re-amped track for others. You can send your recorded guitar track into a different signal path (a different distortion box, a chorus, or whatever seems like a good idea) then slightly delay the result for a thick, doubled sound. Re-amping doesn’t necessarily mean replacing. If you don’t have a direct guitar track to work with, that’s OK - you can re-amp a guitar track that has already been recorded through an amp, even if the result will be a bit different than running a direct guitar sound into the amp. ![]() If you need it, it’ll be there and if you don’t, you won’t hear it. There’s no need to listen to the direct channel, by the way simply mute that channel or turn down the output. Plug your guitar into a DI with the balanced output going to the DAW and the unbalanced quarter-inch output (usually labeled “Thru”) going to any effects and then to the amp. For each guitar pass, create two channels in the DAW, then group them so that both tracks go into (and out of) record together. But, since it doesn’t always work out that way, you can plan for the worst case when you record your guitar track(s), record a direct signal, as well. Run a vocal track through your favorite guitar effects box use your favorite hardware compressor on a recorded bass track or even add the sound of a live room to your drum tracks by running them into a speaker in the live room (and recording the results) - all of these now fall under the rubric of “re-amping.” In Practiceįor many producers (and the vast majority of guitarists), the goal is to get the guitar sound you want when tracking - you choose the amp, the mic, the signal chain, and then play the part. Though the original idea was to re-amp guitar tracks to make them sound bigger, better - or simply different - the term has come to be used for any track that leaves the DAW for further processing. ![]() So, an engineer named John Cuniberti designed a dedicated re-amp box to solve these issues the latest version of Cuniberti’s design is sold by Radial Engineering as the Reamp JCR. The output impedance of the passive DI wasn’t quite as high as the output impedance of a standard electric guitar, so amplifiers responded in a slightly different manner than they would if a guitar was plugged in. However, there were some issues with the original approach, including impedance matching and levels into the amp. Mic up the amp, record the results onto another track, and you’re in business. Plug a quarter-inch cable into the high-impedance side of the DI and run that to the amp. Quite a few years ago, the practice was to use a reversed passive DI box for the conversion: Take the signal coming off the tape machine, which is balanced and low impedance, and plug it into the low-impedance side of a DI box. OK, I lied about the “profit” part, but re-amping - that is, coming out of the DAW into an amplifier or effects box and then re-recording the new, processed signal - can be lots of fun and can add to your mixes in interesting and unexpected ways.Īt its most basic, you re-amp a signal by routing it through an output of your workstation converting it back into a high-impedance, unbalanced signal plugging it into an amp and then re-recording the result back into your workstation. ![]()
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