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Post by lee on Jan 17, 2024 19:23:01 GMT -6
I suggest making up that gain with a mic pre between your DI and interface. I have my chain set for around -12dB. I set my levels to match Line 6 Helix hardware since it is a good middle ground for digital plugins. I also have my reamp box levels set to unity gain in relation to the input levels. That way my reamped levels are as close to the original signal as possible. I leave these levels even when I change guitars, so the pickup level differences are maintained. So, a DI to take my instrument level down to mic level, a preamp to take mic level up to line level, then a reamp box to take line level back down to instrument level. What am I missing out on by leaving it at instrument level in the first place? Optimal signal to noise ratio? Besides "good level practices", if you leave it instrument level, it makes it hard to edit for one thing with tiny waveforms. Hell, you might feel like Cory Wong or Nile Rodgers and want to keep the DI sound. Then you'll be glad you recorded it at the proper level. And when you send line level recordings to a reamp box, the box is expecting line level. |
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Post by lee on Jan 17, 2024 19:59:23 GMT -6
Had a beer with Quint last week and I'm convinced that I should at least be taking a DI signal for guitars even if I don't use it. Somehow I've just never gone down the re-amp path. So let's just throw it out there. What's everyone's process here? What tools do you use for re-amping and how do you use them? I have a Red Eye 3D. Apart from guitars and bass, you can use it for a lot else. a reamp box makes for a good interface to use pedals and unbalanced gear (like a spring reverb) as outboard in your +4dBm recording world. And if you ever sweep out gear with measurement software, it makes a good round-trip interface for that. Like if you wanted to figure out how the EQ stack on your amp interacts, you can go Plug-in Doctor > Reamp > guitar amp > line out > RedEye's DI > back in the computer. Nerdy shit, guilty as charged. Getting the levels coming back out of the reamper to be the same as if the box weren't there, as if you were just plugging a guitar straight into the amp can be important. Otherwise, you can under-/over-drive the amp. And of course, the level coming out depends on the level you record at, so you want to try to match what goes in and what comes out best you can. |
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Post by bossanova on Nov 22, 2024 11:19:14 GMT -6
Bumping this because it’s a really informative thread and because someone who looks at this kind of thing probably has the answer to my question.
I’ve gotten the itch to record some guitar again. The last time I did so I went straight into the interface and played through Amplitube and my monitors. This time around I want to still send the clean DI into my interface but also be able to play through an amp and pedals at the same time, or even send the post-split output to something like my Sansamp GT2 clone to the interface in parallel for realtime monitoring and recording just in case. I also don’t want to spend a ton of money on it because I’m not a guitar player :-)
Would something like a Behringer DI100 with it’s pass-through output work as a splitter for this purpose? I know they have a sub $20 box that’s touted as a splitter but I’ve heard it’s noisy and not really for studio use.
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Post by antbar on Nov 22, 2024 14:40:54 GMT -6
Just dipping my toe into the re-amp pond. Grabbed a second hand Walrus Audio re-amp box. Mostly so far running tracks out of Logic into either my Space Echo or through a Korg MS10. I've always loved using the audio input on the Korg for dirty, dumb guitar sounds. The Space Echo doesn't do fx-only output, so I'm getting lots of phasing if I crank things too hot. No dub madness for me just yet...
Eventually, the re-amp box will move to my basement studio for use with guitar amps, I imagine. Funny though - ever since I grabbed an AC15, I haven't recorded any electrics line-in/clean. My entire life runs through the Vox these days!
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Post by doubledog on Nov 22, 2024 14:59:40 GMT -6
Would something like a Behringer DI100 with it’s pass-through output work as a splitter for this purpose? I know they have a sub $20 box that’s touted as a splitter but I’ve heard it’s noisy and not really for studio use. I did not read the rest of the thread yet. if you just want to split the output of the guitar to record a "clean" track and mic the amp (or not - maybe you just want to hear it in the room) then any DI will work. Will the Behringer be the best? Probably not. I usually use a Radial JDI for this, but some pickier guitar players may notice that inserting a DI in their chain may change the tone (I've never actually had anyone complain though - it might be something only someone like Eric Johnson would notice). It's simply going "through" on the JDI -- the output or mic level side (other side of a Jensen transformer) goes to the mic preamp. I've never had a problem with noise. If you are using pedals you have to decide if you want them in the "clean" track or not (or use 2 x DIs and capture both). For reamp duty, I have an Art DTI (which is similar to the RDB without the level controls). I rarely do it though. |
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Post by anders on Nov 22, 2024 18:05:58 GMT -6
[…]The Space Echo doesn't do fx-only output, so I'm getting lots of phasing […] On mine, the dry signal is muted if a jack is inserted in the "from P.A." input. I have a dummy plug for this purpose. |
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Post by antbar on Nov 22, 2024 18:44:10 GMT -6
[…]The Space Echo doesn't do fx-only output, so I'm getting lots of phasing […] On mine, the dry signal is muted if a jack is inserted in the "from P.A." input. I have a dummy plug for this purpose. Thanks for the tip! |
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