Running the signal through any stomp box while reducing the pedal’s output level has been known to work in some instances as well.
Others include the Pro Co TradeTools RA1 Reamping box ($159), as well as the Radial ProRMP Studio Re-Amper Passive Re-Amping Direct Box ($99). One of the more popular reamp devices is a little red box called the Reamp, designed by veteran recording engineer John Cuniberti (his latest version, Reamp V.2, sells for $189 and is available at Cuniberti’s website. These “reamp boxes” come in two flavors: passive (which merely reduces the signal output to that of an instrument-level signal) and active (which, in certain instances, is capable of “tricking” the amplifier into thinking the signal is emanating from a guitar pickup or other real instrument). While you could conceivably work around the extraneous buzzes and other noises that are likely to occur by just plugging straight in, the best approach is to use a good-quality transformer that is designed to properly balance line-level signals (i.e., match the impedances). Unlike conventional low-level instrument signals, recorded tracks are line-level and low-impedance, meaning there is an impedance mismatch that occurs when sending the signals to be reamped from your recorder out to the amplifier. Well, yes, but to really get it right, there are a few other minor details. If you like the original performance but just want to improve the sound, rather than re-cut the part, you’d simply take the direct-bass signal and run it out to the amplifier, then re-record the “reamped” signal separately. Later on, however, you decide that your directly injected bass could use some boost, the kind that only a good bass amp can provide. By changing amp settings (or even changing amps), you can create an entirely new palate of sounds for your guitar, bass, keyboard or other recorded parts, and, best of all, without having to start from scratch.įor example, let’s say you’ve recorded a bass by plugging straight into your mixer or recording interface. To breath some life into lackluster directly recorded tracks - or, for that matter, any kind of tracks in need of extra dimension - engineers often call upon a technique known as “reamping,” whereby a direct (and preferably untreated) signal is sent from the output of a recorder and fed into an instrument amplifier, which is then miked up and recorded to a separate track, to be used in conjunction with or as a substitute for the primary track.
While these digital emulators have gotten significantly better over time, sometimes there’s just no substitute for moving air. Unless you have access to a dedicated soundproof space 24/7, chances are you do a lot of recording by plugging instruments directly into effects processors, such as those found within GarageBand or similar programs.