![]() ![]() However, the practice also has several other applications. This option has become very popular in recent years, as we have had increasing numbers of tracks available in the modern digital production studio and wanted more options available for mixdown. Also, if you get the tone you want, you can record a direct injection (DI) feed from the instrument, which provides additional flexibility for later. If you have a limited amount of time for tracking, you might not have the time to get the exact tone you want or if you aren’t sure what tone you really want, reamping can be a great solution. With reamplification, you actually record a direct instrument signal from the guitar or bass during tracking, and later play that signal back through an instrument amplifier. He later patented the design, which he called the Reamp. For our next installment, we will dig into the specific settings needed for each of the most popular DAWs so you can follow along and ensure a flawless Reamping session.Photo 1: In 1993, out of necessity, John Cuniberti designed and built an interface box to solve a problem he was having in the studio. That covers the basics of a typical Reamping setup, and as you can see it only takes a few simple steps to incorporate this extremely useful process into your workflow. Lastly, if you find yourself Reamping a lot, instead of having a separate DI and Reamp box, you can get a two-in-one unit like our Reamp station. Also don’t be afraid to add some of your DAW’s effects like EQ or limiting when sending out your signal as well. First, get the output level of your direct track as high as you can (without clipping) when you send it out of your interface and into your Reamp box. Here are a couple extra tips to help you get the most out of your Reamping setup. Check out part two of our Reamp Academy video series for a direct comparison between the original and Reamped tracks that really shows the difference that a Reamping a track can make. Before recording, make sure to create a new track in your DAW to capture the signal from your microphone, and set the output of this track to the stereo bus (or any channel other than the output you are using to feed the Reamp box). As your interface sends your dry guitar tracks to your amp and pedals, it will also be recording your newly created amp tracks at the same time (see figure 7). This is where you complete the Reamping process by mic’ing up your new rig (see figure 6) and pressing record on your DAW. ![]() Adjust the volume control on your Reamper and bring up the level in your DAW if necessary to get the same output from your amp as if the guitar were directly connected to it. Because a Reamp box converts the lo-impedance signal coming out of your interface into an instrument appropriate hi-impedance signal, your guitar equipment will react with much of the same detail and dynamics as it would if you were plugging a real guitar directly into it.īefore moving on to the next step, hit playback on your audio interface and have a listen to ensure you’re hearing the recorded track through your amplifier. ![]() This is where you can start experimenting with different cabs, effects pedals, and amp setups. You can connect directly to an amplifier if you wish, or to your pedalboard first to add any desired effects before the amp. Once you have the Reamp box connected to your interface, the output of the Reamper can connect to your guitar rig using a regular 1⁄4″ instrument patch cable (see figure 5). If your interface doesn’t have a dedicated output to send your tracks to, you can actually use a specialized Reamp box like the Radial Reamp HP to Reamp your tracks via your interface’s Headphone Jack instead. ![]() Then connect the line-level output of the interface to the input of a Reamp box (see figure 4a & figure 4b). After you’ve recorded the performance you are happy with (or once you have edited together a comp to create a final take), assign the recorded DI track in your DAW to one of your interface’s outputs (see figure 3). ![]()
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