Re-amping allows you to tweak to your heart’s content without eating into your clients’ valuable recording sessions.
Recording DI’s and monitoring through pre-configured amp sim monitoring chains which need minimal tweaking to sound awesome means you can start recording as soon as possible, and in return, have the highest chance of recording some inspired performances.ĭial in the tone at your own pace: It’s understandable that a lot of engineers like to spend a decent chunk of time dialing in guitar tones.This can reflect on their ability to perform, and ultimately do more harm than good – What’s the point of having a good tone if the performance sucks… The longer you take to get setup, the more likely it is you’ll end up de-motivating the person you’re trying to record.Preserve the inspiration: If a guitarist/bassist has turned up at your studio feeling inspired and ready record, one of the worst things you can do is get them to play the same riff over and over again for two hours while you attempt to dial in the “perfect” tone. Ultimately, we can make the conclusion that editing your DI tracks before processing means you’re able to produce incredibly tight performances with minimum editing guesswork, saving you a lot of time in the long run.
The fact that you can visually pinpoint and align the beginnings/ends of each note/chord in the DI makes it an easy job to align them to the grid via simply chopping them up at the transients and moving the pieces into place. (Despite the gain being set fairly low on the amp…) The re-amped Peavey 5150 signal above it on the other hand, is basically a compressed block of distortion with minimal visible transient information, making it a real chore to edit accurately. As you can see in the image below, the unprocessed DI track on the bottom is very articulate and dynamic, making it an ideal candidate for any editing work that might need doing later on. Now that you know what you’re getting into… HERE ARE SOME OF THE PRIMARY WORKFLOW BENEFITS TO USING DI & RE-AMP BOXES IN THE STUDIO:Įditing is easier: One of the most annoying things about recording already-distorted guitar/bass tones is the fact that they’re difficult to edit. NOTE: I won’t go into the technical in’s-and-out’s of the gear in this Blog, as I’ve already written in-depth URM articles on the subject in the past. Re-Amp Box: A tool for injecting a pre-recorded DI signal out of your audio interface, and into external amps/gear at the correct output levels for further processing. Well, to sum up their primary functions in a few short sentences…ĭI Box: A tool for accurately capturing the raw (DI) sound of an instrument into your audio interface with minimal loss of tonal fidelity or dynamics. This week, we’re exploring the wonderful worlds of DI & Re-Amping Boxes : Part 4: DI’s and Re-Amp Boxes What Are They? In this ongoing series, I’ll be talking you through the amazing capabilities of 5 pieces of studio gear I rely on heavily in my productions in order to get great results fast. Thankfully, digital recording technology has produced some amazing tools which allow us to achieve maximum flexibility in the studio without having to start from scratch in order to change the core tonal characteristics of our raw recordings every time we want to change something. 
One of the biggest mistakes engineers tend to make when starting out is having to re-do tasks based on the fact that they screwed them up the first time, or simply didn’t take the necessary precautions to allow for a backup solution.
Having an efficient studio workflow is an extremely important factor when it comes to creating a viable business out of music production.
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