Articles, Blog

How to Reamp Guitar – A Full Tutorial on Guitar Recording in the Studio

October 31, 2019

[Music] Hey I am Ryan, and you are watching Creative
Sound Lab a weekly TV show with recording tips, pointers and hopefully a few things
you have never heard before. Well, I just played a quick selection of completely
reamped guitar amps. These are not individual guitar takes. The guitar player played the
song once, live with the drummer, and after the musicians left and went home, I stayed
after in the studio and reamped these tracks. I taked the performance, and line level performance
through a DI box, and converted into a guitar amp friendly signal and re-recorded the guitar
sounds. This was done completely in post production, it was not done with an amp simulator. It
was not done with a Line6 Pod or AmpFarm or any of that. So no plug-ins were used. In fact, no pedals
were used. These were just strait guitar, cable, and amp. But the fact is that you can
do this too. There is some real key advantages to knowing how to reamp your guitar tracks.
Obviously the selection of the tone is one. It is great. If you do not know what you are
looking for then you can always decide later. You can set up something that is a safe bet
for you to play to, for you do just make the music feel good. If you do not always know
what tone you want, you can always change it later. Secondly, if you are in a live situation you
can always reamp and get a better tone in the studio in a controlled environment with
really good microphones. Thirdly, if you do not have a guitar amp that
you really like. If you have a friend that you will be seeing two weeks from now and
you can ask him to bring his amp. I want to play my tracks through your AC-30 or something.
You can actually take your tracks, play them through a better amp owned by someone in your
network of friends or whom you have played shows with. You could help each other by using
each others gear for your guitar tracks. So I am going to walk you through the step-by-step
process today and then show you the results that I have achieved through guitar reamping. [Music] So guitar reamping starts at the performance
level. You have to have at least a signal to be able to manipulate afterwards. Let me
at least show you want it looks like at this point in my set up. OK this is the original guitar. This is the
original guitar amp. You could say this is the performance amp. This is just something
that the guitar player was using to play his guitar. [Music] Ok, now that guitar before it hits the amp
sounds like this. This is just the guitar sound. This is the signal we need to capture,
and I will show you how to set this up in just a moment. But here is what it sounds
like. It is the guitar direct input signal. [Music] OK so you can see that it really just sounds
like an underpowered amp of some sort. An amp on one or two. But essentially it is really
important that we record these levels at about -20 dB because there is going to be tones
of spikes. You do not want to clip these signals. So let us walk through exactly how to set
this up. For this let us go in to the live room. We are here in the live room, and the guitarist
wants to play to this amp. This amp is how he will hear himself. You could also use the
Line6 Pod in this case just as a matter of monitoring but ultimately I guess you could
keep the sound but that is the whole point of reamping is to get the best sounds possible
in the studio after the performance so that you can really play with the tone and mix
with tones that you like. So that is our goal. This is for monitoring, and to do this you
will need a DI box. This is a Type 85 Countryman DI box. It is active, and it takes a 9 volt
battery as well. It just has two jacks on here. The instrument, and the amp. Sometimes
it will say through. So really it does not matter what the exact wording is. But you want to just pay attention to which
jack you are putting it in. The instrument comes from the guitar. The
amp is the output jack, going to the amp. So the white cable is going to the be guitar
signal, and then that signal goes through the DI box and then strait back out to the
amp, which is the red cable. The the red is obviously going into the input of the amp. So that is a real basic set up. Of coarse,
the magic here is that it does not just go through the box, but that we are capturing
it. We are recording it at this point right here. So that is were the XLR comes into play.
This XLR is what you want to record at -20dB, so make sure you have tones of headroom on
this. It is very spikey and pointy in nature. So make sure you have tones of headroom. I
get asked a lot about where you should put this DI box. If you have a pedal that is criticle for the
performance for that guitar such as a wha wha pedal, or a delay pedal. Something like
that. Then you will want to capture after those pedals, so the DI box goes after the
wha wha and delay pedal. But if it is something like an overdrive pedal that you may want
to change later but you are not quite sure, or maybe a compression pedal, then put the
DIbox before. So if it is a performance type pedal. Something
that the guitarist needs to be able to respond to in his or her performance, then it needs
to be included in the signal that the DI box records. That is important to record, because
you do not want to have to sit there and manual do a wha wha pedal to get that sound back,
you want to make sure that is recorded in the dry guitar signal. So let us step back into the control room
and I will show you what this signal sounds like and then we will go from there on reamping. So let us check out and see what kind of signal
the DI box is getting. And after a while you will get pretty good at learning how the DI
signal sound and what is a good signal, as far as the type of guitars. Stratocaster,
Tellecaster. Various models have a different type of sound in the direct in kind of thing,
so it’s kind of cool to learn the original dry sound of your guitars. Let us see what
this sounds like. [Music] Ok so pretty punchy. There is nothing holding
that back. And if you notice here, I am really not peaking this much at all. There is tons
of headroom here in this signal. So it is really important to keep the integrity of
the signal. And when you reamp, if it is distorted, that distortion will come through on the amp.
So now let us go back into the live room and get the reamping side of things set up. Ok so we are here in the live room, and we
are on the reamping side of things. And what we have done is taken a line level signal,
this is the signal, the soloed signal from our DAW that is that DI direct sound. Even
though this is a XLR connector it does not mean that it is a microphone signal. It is
just the connector. It is just the flavor of what I am using here. I use an adapter.
It is a line level signal. Ok so what this box does, it is about one
hundred dollars, it is the price of an sm57 but you can convert this signal to any of
your gear. This includes stomp boxes that you have on hand. You could also convert anything such as vocal.
Ok think about this. You could do vocal through a stomp box. You could do vocal through an
amplifier. In this case we are doing a guitar signal, a line level signal. So this means
that anything in our DAW goes through this box and comes out the other end into guitar
equipment. So it connects up through the XLR and then
a quarter inch cable on the other end. And we are pretty much ready to go. No from here we are going to want to go back
in and hit play on the signal and very slowly turn up the gain from the DAW, come back in
here and slowly turn up this gain and make sure I do not blow up anything. But it is
really quite simple. And like I said this overdrive effect is not a performance related
effect so this would be a great time to experiment with various pedal settings and things like
that. Now if you do not have a DI box you could
do it with a passive direct box. I have not had any luck using an active direct box. But
a passive direct box, it is really just wires and a connection and a transformer. So there
is nothing to get in the way of shooting a signal backwards through it. The problem is
that this transformer is not really designed to go that direction and you have to run it
at something like -30 at least before it distorts. And then on top of that it just does not sound
like it is getting enough signal to the amp. You can try it but there is a good change
that it is just not going to work. That is really all there is to it. It is super easy
to set this up. Now I am going to set up seven amps and record
the signal through this vintage MD-421. I want to show you what seven of my amps sound
like. Ok so I recorded several different takes,
and let us see just what kind of sounds I am getting. [Music] Ok, not bad. But right away I am seeing a
pitfall in this process. The fact that the guitarist is not actually performing to these
amp sound and settings so he has no way of interacting with these settings. It is just
something to consider. And regardless, if you are using amp simulators or you are using
reamping this pitfall is the same in either case. So it is just something to consider
and it will reflect on how you choose the amp as far as the monitoring amp for the guitar
player. So, just something to consider. Here is another one. A 1965 Gibson Scout. [Music] Ok, so that one has a total different character
with real amps you have huge sweeps of character and sounds and sonics. This is really the
cool part about reamping, it is almost identical to the amp simulator plug ins like Ampfarm
and Line6 Pods, but these are real amps. We are getting access in post production to the
sound of our amp tones. It is incredible. Let us try the next one. It is a 1950s Danelectro [Music] Ok, moving on. This is a kit build. It is
kind of a knock off the Danelectro. It is called the Dinelectro. It is just a kit build. [Music] Ok, once again a totally different sound.
Let us keep going. Here is a Little Dawg 1959 style tweed guitar amplifier. [Music] So that one is totally different. Very clean.
It almost just does not want to break up. Here is another one. 1965 Princeton Reverb,
a Blackface. [Music] Ok so, the tremolo is a unique thing as well.
If you are reamping because you did not get the gain setting right, maybe you wanted more
overdrive or less overdrive that is a great reason for this process. If you decide later
you want tremolo, this original monitoring guitar amp happened to be the 1965 Princeton.
Here is the original guitar take. [Music] In fact you can hear it in drum track. This
was tracked live so it really does not negate your ability to substitute out the amp. You
can hear it a little bit in the drum track. [Music] Ok, so it is there. But if you decide later
and really wish you put the tremolo on. [Music] So another great reason for reamping. Finally the last one that I did for today
was the 1996 Pro Jr. [Music] So the EL84 Tubes of the Pro Jr really broke
up kind of nicely. That is one of my favorite amps, along with the 1965 Gibson Scout. To wrap this up, reamping is just a really
cool tool. If you have just a hundred dollar box, you can be exposed into any sort of guitar
effects that any body would bring into your studio. You can also borrow guitar amps from
your friends and borrow effects pedals that you do not have now but maybe you could borrow
one or something. So it just opens up the possibilities of all
the effects that you can do. Of coarse you can send anything in there.
You can reamp drum tracks into a guitar amp, you can send vocal into a guitar amp. A few episodes ago I did a episode on purely
sending a vocal into a reverb of a princeton reverb so it had a great lush reverb and I
want to tap into that. So I used the reamp box to get into that amp. In general, if you can, be tapping into that
direct signal after your performance based pedals. After the specific delay pedal, after
any sort of wha wha pedals or anything that is very much attached to the guitar players
foot when he is playing that guitar you wanna keep in dry signal. You really should be recording
this as much as possible. Unless the DI Box is degrading the signal. Always do an A to
B check to make sure that it is not doing something wierd, but if it sounds the same
then go for it. Go ahead a track that dry signal and track the amp with a microphone.
And hopefully you will be able to keep that original guitar amp because if you can get
tones that you like at the beginning when you are in the moment of the song creatively
and in that headspace then awesome. You will be able to make decisions that are good for
that song. But if you are just confused. If the session is fast paced. You get flustered
and you are not sure of your guitar tones and your decisions. Then go ahead and track
that direct signal and it can really save your butt in the future. Next episode I am going to be breaking down
some of the basics of guitar amp recording. I will go through all my steps of how I typically
approach a guitar amp. I realized I have skipped over quite a bit of this as far as the basics
of guitar amps, so that will be next week. I hope you have a lot of fun with reamping.


  • Reply jefferson vecinal August 9, 2014 at 9:27 pm

    @creativesoundlab   thanks a lot man! i use Line 6 pod studio ux2 for audio interface , it has left and right analog outs. do i need a pre amp box? or i can just use either left or right analog outs

  • Reply Matthew McCalvin September 17, 2014 at 5:35 am

    how do you run from logic daw installed on logic to the reamping box?

  • Reply Daniel Leonov October 7, 2014 at 9:10 am

    Thanks for the tutorial! How do you choose at which level to play a recorded DI signal into an amp?

  • Reply Hope Dyno October 19, 2014 at 8:51 pm


  • Reply john guitarez October 20, 2014 at 1:30 am

    Thank for this video, I have a question for my personal set up : 

    I use a Tascam US-1200, and I only have L and R monitors outputs at back : How woulb it be possible to fit in a single reambox input like yours ?

  • Reply Amon Foratto December 22, 2014 at 1:10 am

    How to get the signal out of the daw? (where does that xlr cable come from? i didn't get that) Thanks to anyone who awnser me

  • Reply Damian Brady February 8, 2015 at 2:14 pm

    Thanks for the Vid man, twas great!

  • Reply Promot Ed March 10, 2015 at 12:05 pm

    My digital board is a Presounus 1602 – it doesn't have outputs for each channel- only inserts. Could I use a TRS (lets say left) monitor out – pan the line level gtr signal left and send that to the reamp box? If so – how can I monitor the returin mic'd gtr signal? See, I usually use the mixer as my zero latency monitoring while I track – I don't hear the actual signals from the DAW (I use the headphone out from the mixer) which is great – the drawback is I can't hear any of the processing that's taking place inside the DAW while I track. If I need some verb or something the mixer has it's own FX and I use those – those FX are not recorded though. I have tried reamping in the past with this rig –  If I allow the DAW signal into my monitor I get feedback loop howl in a reamp situation – if I mute it it records o.k. but sounds phasey and weird. How are you monitoring your reamp sgnal??

  • Reply maff March 23, 2015 at 9:16 pm

    carnt beat the real amp though can you

  • Reply telestory June 7, 2015 at 2:38 am

    Hey great vid. Quick question: do I need a direct in box to record the DI track, or can I just plug straight into my interface? Not sure of the advantage of using the direct in box. Thanks!

  • Reply Deuterium2H June 13, 2015 at 5:49 am

    Ryan, this reamping video tutorial is the most concise and informative I have found on YouTube.  I have been playing guitar for 20+ years, but never did much recording, personally…and certainly I didn't know a thing about reamping.  Thank you so much for your video and the excellent overview of this process.  I recently purchased a Kemper Profiling Amp (which I absolutely love), and am going to dive into computer/DAW recording.  So, this reamping process, now that I know and understand it's benefits and possibilities…is absolutely the Cat's Meow.  Well done, mate!  Thank You.

  • Reply FalconsPrey August 15, 2015 at 6:41 am

    Hey, I own an Allen and Heath qu16, a vox ac30, and a radial pro ramp box. I sent the output from logic to the boards aux out and sent that to the reamper. Somehow after i reamped one DI signal it lowered the volume of my amp dramatically. Which has happened before to my amp which turned out to be a tube problem but that was fixed. So do you have any idea how did this to my amp?
    Thank you if you read this.

    btw: already tried different cables and etc.

  • Reply Kevin McGrath August 21, 2015 at 6:07 am

    Good point at the end.  I was thinking the dry track would be great as a sort of backup if the original amp track was later determined to be undesirable.  It doesn't make much sense not to capture it if you have the ability.  It is like you said, a great tool to use, just not in every scenario as that subtle live interaction with the amp is something that gives many players their unique style.

  • Reply Marcelo Silveira September 4, 2015 at 1:11 am

    Unfortunatelly Radial PRO-RMP just does not work for recording Metal or high gain guitars. It reduces drastically the gain of the signal. In other words: the signal coming from the reamp box is significantly weaker than my guitar signal. I recorded a DI into my DAW via my interface. My virtual amps sound perfectly, the guitar directly plugged in the amp sounds loud. But the DI recorded track loses loads and loads of gain through the reamp box.

    Some people suggest a mod on PRO-RMP with resistors removal to this work correctly.

  • Reply Romulan Spy September 6, 2015 at 9:45 am

    tell me about the mixer. Is that kinda midi controller for Reaper?

  • Reply Kervy Quitane October 2, 2015 at 7:35 am

    My set up is a Focusrite Scarlett 2i2 USB interface. I will plug my guitar straight into the interface on the FIRST channel to get the clean signal that i'll be using for reamping. I'm pretty sure its okay right?

    Now,recording a clean guitar signal straight is kind of boring especially on the overdrive/distortion parts. So I'm thinking, can I use my interface AS A DI box?This is what I mean:
    (Assuming my guitar is already on the FIRST input of the scarlett 2i2..)

    I will use one of the outputs of the scarlett 2i2 TO the input of my amp.
    then FROM the output of the amp,
    TO the input of Mesa Cabclone(loadbox),
    from the line out/direct balance out,
    TO the SECOND input of the scarlett interface.

    by doing this,I can also record the process signal right so if i playback i can hear it(for tracking) and at the same time, captured the clean signal that will be used for re-amping.

    Is this okay? 🙂 Thanks for your reply.

  • Reply Pablo n'Sala October 13, 2015 at 9:29 pm

    hy man
    first of all nice vid 😉 really interesting :))))
    the second one, I got some questions for you… 😛
    the first one: well I understand that a DI box use to capture the dry signal, but does it work also if I got a POD HD500 from Line6? I mean, when I record a track, and just connect the guitar into the DI box input –> then into my audio device then the POD, on my monitor I will listen the wet and dry sound?!? Or only the wet sound??

    the second one, shhh for the ramp box. Also with the POD. I saw you plug into the amp, the ramp box. But… does it work for the POD too?? I mean, i just should connect the ramp box to the guitar in from my POD?!?!? And then, after that, I could modify my tone, during it's playback?!?

    Tnx for your answer 🙂
    waiting for you, tnx 🙂

  • Reply Thomas Denux October 22, 2015 at 3:51 pm

    You have a sweet amp collection!!

  • Reply Nicholas Dentato November 4, 2015 at 11:53 am


  • Reply hbrookes December 14, 2015 at 1:12 am

    Very informative…Thanks for your time!!

  • Reply Troy Howard January 1, 2016 at 5:08 pm

    When you said to record the dry sound at minus 20 did you mean that the highest db of the guitar should only peak at and not surpass minus 20db and if your DAW has a hi-z input do you still need a DI or do you still recommend using a DI or use the DI with the hi-z on????

  • Reply Troy Howard January 1, 2016 at 5:35 pm

    Would this technique rid you of the dreaded 60 cycle hum?

  • Reply andYz00m January 10, 2016 at 10:36 pm

    What kind of pres are you using? I see you have the motu 24i/o, amazing affordability and low latency i/o. Subbed.

  • Reply BlownSpeakerGospel January 19, 2016 at 2:13 am

    Recently, I've been recording DI tracks using a Warm Audio Tone Beast then direct into my focusrite saffire pro 40. I noticed after my session that I had the low end scoop button engaged on the Tone Beast. This is something I'm kind of concerned about because I want to have the low end for some heavier kind of fuzz tones to mix with some Marshall-esque type tones that I also recorded during that session. I'm planning on getting a reamp box this month so I haven't yet been able to see how it will actually sound once I begin reamping. Have you noticed a difference in the presence of the low end while reamping after you've tracked DI guitars with that low end scoop button engaged on the TB? Kind of a funky scenario but just had to ask.

  • Reply Darth P February 4, 2016 at 11:32 pm

    i dont have an amp because the noise. Can i use a multiple effects pedal instead a heada an cabinet for the reamp? thanks

  • Reply Mitchell Martinez March 8, 2016 at 11:12 pm

    When you are re-amping, Does the XLR cable come from the Mixer/ interface to the re-amp box? and do you just set up a mic connected to the interfacer, to record? You don't have to play the guitar, it will record what you recorded already?

  • Reply DIGIKILL March 19, 2016 at 2:39 am

    Are you able to use one of your speaker outputs on your audio interface to your reamp box if your interface does not have a dedicated output??

  • Reply Rodolfo Alvim March 20, 2016 at 5:45 pm

    Does this DI-Box records the dry signal inside the device? because I don't see a third send where you plug the dry signal to recording.
    sorry if is a dumb doubt, I don't actually know much about it, just trying to find a way to solve tone issues recording for my band.

  • Reply Travis Hendricks April 28, 2016 at 12:47 pm

    Ryan I have a question, when your recording, let's say Ive got a wah and I want to use distortion, could you put a DI box before and after wah and just record two tracks? Cool video 👍

  • Reply Cayce Woodard May 2, 2016 at 1:38 pm

    Quick question since I've never done any re-amping, what exactly is the signal flow out of the DAW to the reamping box. Like how do you setup the output of that track so it gets sent? I use a firestudio project to record. I thought maybe it would be a general output??? any help would be awesome. Thank man. Really loving the videos.

  • Reply Watchman4u August 16, 2016 at 8:28 am

    Do you use that control surface much? I love faders & Jog

  • Reply Austin Black September 20, 2016 at 8:26 pm

    man that Pro Junior was maybe my favorite sounding one. Is there any added overdrive or boost going into that or is it just the amp dimed? Also is there anything especially special about it being a 90s one?

  • Reply Panhandle Gear Demos October 16, 2016 at 10:15 pm

    I've had a heck of a time trying to reamp. I keep getting feedback big time. Not quite sure what the problem is but I'm trouble shooting it.

  • Reply Malik Berry October 21, 2016 at 10:18 am

    Hey do they have digital mixers where you can route certain channels to a output for only guitar.I think they do Because I seen this digital mixer that say assignable sends.I was wonder for instance like if you have 8 inputs and 8 channels right you assign the first three input to be routed to channel one and then route channel 1 to one of the assignable sends so it wont be mixed with other instruments like the drums. The tascam dm 3200 has this feature I think just trying to make sure.

  • Reply Nicholas Obal October 24, 2016 at 3:38 pm

    great video!

  • Reply Jérémie CHARRAS October 26, 2016 at 7:49 pm

    Reccording's Buddha.

  • Reply AlleiN November 26, 2016 at 8:52 am

    Hi, wich is the peak lvl recommended to record guitars via DI Box? I'm recording with a -6db peak level and my question is: how do i send the same amount of db via my Audio interface, trough the reamp box and to the Amplifier? My reamp box has a Volume knob, but i'm not used to do Reamping so much so i have lots of doubts .. Thanks!

  • Reply Rick Greene November 30, 2016 at 4:21 pm

    I preferred the Scout and the Pro Junior.

  • Reply dooder December 16, 2016 at 3:54 am

    that Fulldrive 2 in white is sweet. I have the original blue. Fantastic pedal. Very thick mids. It's one of my favorite boosts, depending on the amp. The mids are really what count in boosts. From thinner to thicker in my collection: SD-1, Analogman SD-1 (modded to original Tubescreamer circuit), and the Fulldrive 2.

  • Reply dooder December 16, 2016 at 4:06 am

    I like the pink tape. Gotta love the MD421's shit ass mic clip.

  • Reply Dean Massicotte January 7, 2017 at 1:40 am

    Do i need a DI box if i run my electric guitar in an Apollo twin solo in the HZ input .Just purchased the JCR radial reamp box, and wanna put it to use

  • Reply Simon Björkman January 8, 2017 at 1:35 pm

    What iws your re amping setup?

  • Reply Bart Nettle February 14, 2017 at 2:28 am

    May I advise to move the mic out from the close micing technique traditionally reserved for live recording. Yes the room, mic and preamp need to be good and driving it can add something to the tone. Requires good isolation to monitor it. Basically you are going for detail in the capture of the amp rather than loudest bass heavy with added proximity effect. The added advantage is you can really drive the amps and have the mics capturing a little room if required. Otherwise you tend to have to attenuate all the way back into the recording which is antipathetic to what an amp does! "Amplifies"

  • Reply LOVE IN A VOID February 19, 2017 at 1:04 am

    Wonderful video, thanks for all the hard work going into this tastefully executed tutorial.

  • Reply FrankyMaze March 5, 2017 at 2:45 pm

    Hi Ryan, thank you so much for all the great work you've been doing! I really appreciate all of it! Let me just ask a question (it seems to me that once you mentioned something about this but I might be wrong): does the guitar audio file need any kind of post-production before it is played out of the DAW and into the reamp box?

  • Reply vlastneme March 17, 2017 at 4:15 pm

    it may sound wierd but everyone must do with what he has access to so my question is can i use a line signal (jack1/4 unbalanced (audiocard with servo automated in /out to use trs or ts ) on send return (in my audio card ) send it to a head (engl invader 100 + Palmer ) then back to my daw just to experiment with impulses (for cabs+micing) ?? if i dont have a di box or a reamp box how can i do it (if i can do it at all)??

  • Reply John LaFosse March 31, 2017 at 3:08 am

    I picked up a vox Vt50 at at pawn shop. It is working and I think it will be a great addition to the studio with the 22 amp modeling simulations. I intend to reamp the dry signal however I will be using plug-ins and maybe korg nano pad to act as a footswitch for Amplitube. The thing I assume I need to be careful of is to make sure the amp cabinets in the plug-in software is turned off. Should the amp heads be shut off too? Or can I use a very clean basic preset on the Vox running amp head simulations from my plug-ins? Have you re-amped using a hybrid setup like Amplitube or guitar rig? The Vox VT50 does have a footswitch for sale but as of right now I do not have one. I'll also be sending to an external cabinet I custom built with an Eminence GA-SC64 from the Vox 8 ohm output. Great video. I'll certainly be adding a like.

  • Reply Alejandro Planter April 8, 2017 at 9:48 pm

    Awesome channel, just two questions, can I use a Boss GT-100 through the Line Output as a DI box? And also, can I reamp from it to the amp and micing?

  • Reply rickenbacker40011 April 11, 2017 at 2:38 am

    the scout wow!

  • Reply JPEEZY STUDIOS April 24, 2017 at 8:20 am

    Good video!

  • Reply Rob Flax May 15, 2017 at 7:32 am

    Unrelated question but I keep thinking it: what's that great shaker sound in the transition music at 2:38? And how did you record it?

  • Reply Tuttermuts May 22, 2017 at 6:52 pm

    5:15 "jack your pudding"

  • Reply FSBass June 14, 2017 at 9:18 pm

    "You don't wanna clip these signals."
    Depends on the style ! Joey Sturgis actually clips his DI guitars because it sounds already more compressed when hitting the guitar amp afterwards.
    I don't say I would clip my DI, but at least that's interesting to know.

  • Reply WSpaceCaptainW June 26, 2017 at 12:35 am

    Thanks for this tutorial dude! Really helped me.. I have just a question, im not sure if you can help me because you own a different mixer.. but i own a mackie onyx 1220i and i'm using cubase 5. The question is.. how do i set up my DI out in cubase and what output should i use? I only have two visible outputs in cubase L and R. I would like to be able to listen the re ampling return and the drums for example, and then move the mic to choice a nice position. Any idea?

  • Reply I'm unsubscribing. July 30, 2017 at 2:33 am

    Can you use a DI box and a power attenuator to compensate for the signal boost somehow instead of reamp box?

  • Reply Felipe Gonzalez August 19, 2017 at 5:06 am

    hi, i'm getting a lot of feedback when i try to monitor my reamped signal, what am i doing wrong?

    im sending the signal out of the left main of a presonus studiolive into a reamp box, then the amp, and recording it into the studiolive again. i'm new to audio so i'm not really sure, how could i solve this? thx a lot

  • Reply DKStudiosful September 19, 2017 at 3:30 am

    REamp an DI boxes are different.

  • Reply FOR DISPOSAL March 12, 2018 at 1:41 am

    what's the name of the band/song?

  • Reply Dearly Departed March 27, 2018 at 5:48 am

    Thanks much!

  • Reply Picnic Point Open Mic December 13, 2018 at 3:07 am

    Reamping is completely new to me. This video is superbly informative and most interesting. Can't wait to try it out with my DAW and amp. I can also see another useful thing out of this, and that's to adjust the amp while the guitar is playing back, rather than just playing a few notes then adjust a knob over and over. Rather like someone else is playing the guitar and I'm looking for that sweet spot on the amp.

  • Reply SamWilliams_Music December 23, 2018 at 6:09 pm

    Can I reamp guitars(with re amp box) but with no physical speaker cab? Only using a speaker cab simulator software on the computer? Or will something start smoking? Lol

  • Reply Christian Davis December 25, 2018 at 3:46 am

    I have a Radial JCR reamp and a UA apollo twin. I recorded the dry guitar signal via the apollo DI. To route the signal back to my guitar amp, the male XLR goes into the reamp, but there is nowhere in the apollo to put the female XLR… do I need a male to male XLR cable? Or does the female XLR not go into my Apollo?

  • Reply Alex Addams February 23, 2019 at 3:56 am

    I'm very new to guitar signal routing and all. I honestly do not like the idea of recording dry and then manipulating sounds later and I don't want to lose the sound of the idea that I have in my head. My question is, it possible to record with all the effects I want through DI box, as if in a performance scenario?

  • Reply Too Tory March 2, 2019 at 2:56 am

    What’s the signal path out of your DAW / hardware to the live room?

    Are using an Apollo ect. Coming out quarter-inch to a snake that converts to XLR? Etc.

  • Reply Zachary Macaione May 8, 2019 at 5:43 am

    What mic is being used on the amps? The white one with pink tape around its base.

  • Reply Peter Shih September 24, 2019 at 5:19 am

    so when you initially plug the guitar into the countryman DI and you have instrument cable TS going into the DI and TS instrument cable going out from DI to XLR into the amp ?
    im guessing that makes it balance signal di? the mic is plugged into interface miked up to the amp?

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