REAMPING

Clarky

thought I'd start a thread about reamping

although I'm expecting to be the only person interested in this... lmao

octatonic

I do a lot of reamping.

ecc83

There is a lot of myth and BS talked about re amping, mainly to do with the kit you need (not a lot!) and the dreaded "I" word, Impedance is bandied a lot and, as is almost always the case, is completely misunderstood.

Oil be beck!

Dave.

Clarky

I use a Redeye with the Axe-II

but the 2120 and VG-99 don't seem to need it

octatonic

ecc83 said:

There is a lot of myth and BS talked about re amping, mainly to do with the kit you need (not a lot!) and the dreaded "I" word, Impedance is bandied a lot and, as is almost always the case, is completely misunderstood.

Oil be beck!

Dave.

When people don't get it I send them this:

http://gsuryalss.files.wordpress.com/2012/02/volt-amp-ohm.jpg

Clarky

awesome pic.. lmao

guitarfishbay

Had a chance to use a Red Eye earlier in the year and thought it worked great.  Would love one but it is far down the GAS list currently.

I use a Palmer DACCAPO for reamping and just use the DIs from my Focusrite Scarlett 18i20. I also have an ART X Direct active DI but it gives a much duller sound than my interface DIs give, and seems to make the amp tone muddy if I use the thru/link while DI'ing.

Usually I track using software sims (Lecto and Recabinet most of the time) and then reamp later through a cab with mics.  Sometimes for solos I'll play them in live through the amp for a bit of feel, I'm home recording so am sat next to my amp.  In that case I'm still taking a DI from the interface and the signal is coming back out via the Palmer so I've still got a reamping option.  That seems to work fine for feel and tone when doing rock stuff.

Always remember when googling for reamping tips that it has a P...

Clarky

I know that reamping is not exactly rare for guys with rack units..

but do any of you guys reamp with real amps, old skool stylie???

Deijavoo

I've read people talk about reamping but I've never done it before and would not know where to start. 

Danny1969

Sometimes when someone records via a DI or some vanilla toneless bass amp we send the bass track back out of Protools into the live room where we feed it into an Ampeg SVT mic'ed up with a Beta 52. We then record that back into PT, makes a big difference to rock bass tones. 

Another trick is to record the drums normal style, via overheads and close mics and then send just the snare mic track out of PT into the live room through the PA and into a room mic 8 metres away. Great for that huge room snare sound

Funny enough I've never re amped a guitar track but quite fancy trying it out  

Clarky

I've reamped the bass guitar before.. but never the snare in a room.. that's an awesome idea...

Clarky

the cool thing about reamping guitars is that you don't commit to the tone

you only essentially capture the performance

having done that.. you can goof around with amps and cabs to your hearts content until you nail the tones you need..

Clarky

another cool thing is that the tones I like to hear are often not that nice to actually play..

to I'll record the dry guitar whilst monitoring a tone that feels amazing..

and then I'll reamp using a tone that sounds really nice [but would feel like crap]

ecc83

Deijavoo said:

I've read people talk about reamping but I've never done it before and would not know where to start. 

You start De', optimally with an Audio Interface and record you note perfect lick onto PC.

You then take a feed from the AI (a split from a headphone feed is often easiest) and plug that into the input of your guitar amp. Next you mic up th Gamp, play the lick and fork about with the amp setting and mic positions till you get the sound you want. ..There are two main caveats.

1)The level going into the amp will probably be to high, no harm but it might make getting a clean stater sound tricky. Solution? Pot in a tin.

2)Because the PC is earthed AND the amp you will probably get a hum loop. Solution? Break the screen feed back to the amp in the pot tin.

ALL other bells, whistles and paint after that basic signal source are just icing on the sonic cake.

Dave.

Clarky

reamping is a two stage process.

the first part is recording the dry tone. then reamping of the dry tone

here's how I do it

recording the dry:

I jack the guitar straight into the audio interface [which has hi-Z switched on for that input].

the mixer within the audio inferface is set to send the dry guitar tone to the firewire [for recording in the DAW] and also to send the dry guitar tone to a regular jack output [to go to the Axe-FX II].

the regular jack output goes to the instrument input of the Axe-FX II via the Redeye

the two outputs of the Axe-FX II are connected to a pair of inputs of the audio interface

in the audio interface's mixer, the fader for the dry guitar is 'down' so I can't hear it, and the fader for the Axe-FX II is 'up'. When I play guitar I can't hear the dry tone, but I can hear the Axe-FX II. In the DAW I can record the dry guitar whilst I'm actually listening to the Axe-FX II.

we've now recorded the dry guitar [which is ready to be reamped]

Clarky

reamping:

from the DAW you send the dry guitar to the firewire [which arrives at the audio interface on the corresponding channel]

this channel is sent to the audio interface's output that is connected to the Axe-FX II [via the Redeye]

the audio interface's inputs that receive the Axe-FX II are sent to the firewire so that the DAW can record the reamped tone

 

 

 

Clarky

all this sounds like a like a lot of agro..

but in the audio interfaceyou can save these two different configs so that you can easily recall them for each stage of the reamping process

guitarfishbay

Clarky said:

reamping is a two stage process.

the first part is recording the dry tone. then reamping of the dry tone

here's how I do it

recording the dry:

I jack the guitar straight into the audio interface [which has hi-Z switched on for that input].

the mixer within the audio inferface is set to send the dry guitar tone to the firewire [for recording in the DAW] and also to send the dry guitar tone to a regular jack output [to go to the Axe-FX II].

the regular jack output goes to the instrument input of the Axe-FX II via the Redeye

the two outputs of the Axe-FX II are connected to a pair of inputs of the audio interface

in the audio interface's mixer, the fader for the dry guitar is 'down' so I can't hear it, and the fader for the Axe-FX II is 'up'. When I play guitar I can't hear the dry tone, but I can hear the Axe-FX II. In the DAW I can record the dry guitar whilst I'm actually listening to the Axe-FX II.

we've now recorded the dry guitar [which is ready to be reamped]

Could you not skip a stage and just go guitar -> redeye -> interface [for DI] -> and (redeye out to Axe FX) -> (Axe FX to interface) for first tone idea?

Or do you not find the Red Eye DIs work as well in your case as using the instrument in on your interface?

Clarky

there's nothing stopping you recording the Axe whilst recording the dry..

but that seems a little pointless to me..

or at least to my way of working..

I record with a tone that feels great and would work great for live...

but then I reamp with a tone/s that sits well in the mix..

PolarityMan

For our last recording session I had a play with capturing the clean signal with a view to re-amping (probably with amp sims rather than real amps though).

What I found was that putting the guitar into the audio interface then the output of the audio interface into the amp didnt work that well, changed the tone too much. Im guessing this is an impedance / level issue and why you ened a reamping box.

So instead I split the signal with an EHX switchblade plus (an active A/B/Y pedal) and send one leg to the amp and the other to the AI.

This gets me a good clean track and good signal to the amp for recording via mic's

I reckon you ened something for doing the actual reamp bit though. Can anyone with a reamp box confirm what ECC83 said about the simplicity of the circuit?

From the AI would you aim to simply get as hot as possible without clipping the output meter and then rely on selecting the right pot value in the reamp box?

How would you determine that value?

Would be nice if amps had built in input meters

guitarfishbay

Clarky said:

there's nothing stopping you recording the Axe whilst recording the dry..

but that seems a little pointless to me..

or at least to my way of working..

I record with a tone that feels great and would work great for live...

but then I reamp with a tone/s that sits well in the mix..

I appreciate your workflow with regards to feel, that's not the bit I was talking about though.  I re-read my post and realise it is confusing.

I was talking about the start of your signal chain.

Your post makes it look like you go

Guitar -> Hi Z Interface input -> to get the DI then Redeye -> Axe FX to monitor

When I thought generally people went:

Guitar -> Redeye -> Line in Interface to get DI, using the reamp out of the redeye to monitor with the Axe FX.

Both would work just wondering why you aren't using the Red Eye for DI?