When re-amping electric guitar tracks, the guitarist need not be present for the engineer to experiment with a range of effects, mic positions, speaker cabinets, amplifiers, effects pedals, and overall tonality – continuously replaying the prerecorded tracks while experimenting with new settings and tones. Re-amping allows guitarists and other electronic musicians to record their tracks and go home, leaving the engineer and producer to spend more time dialing in "just right" settings and effects on prerecorded tracks. As well as physical devices that require an impedance-matched guitar pickup signal, software-based virtual guitar effects and amps can be included in the re-amping process. The microphone cable is connected to the mixing console or mic preamp using a cable, as usual, without using a bridging device.Įxternal effects such as stomp boxes and guitar multi-fx processors can also be included in the re-amping process. A microphone is placed near the guitar speaker and a new track is recorded, producing the re-amplified, processed track. The guitar amplifier is placed in the live room or isolation booth of the recording studio and is set up to produce the desired tonal quality, including distortion character and room reverberation. Later, the dry, direct, unprocessed guitar recording is fed to a bridging device (a Reamp unit or reverse DI box) to "re-record" the guitarist's unprocessed performance through a dedicated guitar amplifier cabinet and/or external effects units. Often, the guitarist's signal is sent to both recorder and guitar amp simultaneously, providing the guitarist with a proper amplifier "feel" while they are playing while also tracking (recording) a dry (un-effects processed) signal. This is often achieved by connecting the guitar into a DI unit (a Direct Input or Direct Inject buffer box) that is fed to a recording console or, alternatively, bypassing the console by using an outboard preamplifier. It is important for audio engineers to check that the microphones being used are in phase to avoid problems with the mix.Īn electric guitarist records a dry, unprocessed, unaffected track in a recording studio. By pointing the monitors away from each other and miking each speaker individually, the stereo image can be well preserved and a new sense of "depth" can be added to the track. The technique is especially useful for "softening" stereo drum tracks. By playing a dry signal through a studio's main monitors and then using room mics to capture the ambiance, engineers are able to create realistic reverbs and blend the "wet" (modified) signal with the original dry recorded sound to achieve the desired amount of depth. Re-amping is often used to "warm up" dry tracks, which often means adding complex, musically interesting effects.
Re-amping can also be applied to other instruments and program, such as recorded drums, synthesizers, and virtual instruments.Įxamples of common re-amping objectives include taking a pre-recorded electric guitar track and adding musically pleasing amplifier distortion/overdrive, room tone such as reverb, audio compression, EQ/filters, envelope followers, resonance, and gating.
The technique has since evolved over the 2000s to include many other applications. Originally, the technique was used mostly for electric guitars: it facilitates a separation of guitar playing from guitar amplifier processing-a previously recorded audio program is played back and re-recorded at a later time for the purpose of adding effects, ambiance such as reverb or echo, and the tone shaping imbued by certain amps and cabinets. Re-amping is a process often used in multitrack recording in which a recorded signal is routed back out of the editing environment and run through external processing using effects units and then into a guitar amplifier and a guitar speaker cabinet or a reverb chamber. ( February 2017) ( Learn how and when to remove this template message) Please help to improve this article by introducing more precise citations. This article includes a list of general references, but it lacks sufficient corresponding inline citations.
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