Reamp studio review
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#Reamp studio review software
The software guys wouldn’t be left out of this market, and the result is the latest addition to direct recording tools: software amp simulators. It’s hard to find a desktop hard disk recorder or computer audio interface now that doesn’t have at least one dedicated Hi-Z (high-impedance) guitar input. At this point it’s difficult to find an effects unit or preamp that doesn’t have a “cabinet simulator” built into it, and direct-connect recording tools are now in common use by many players. With the POD (and the many all-in-one guitar processors that it has inspired since then), you can now create a complete, produced guitar sound without the muss and fuss of pedals, amps, speakers or microphones. These devices not only include cabinet simulation, but a host of effects pedal simulations as well. Line 6 pushed the envelope even further in the late 1990s with its POD effects units. This was hailed as a great achievement by both studio and bedroom engineers alike, and became widely copied. The first breakthrough for guitarists (and tone-hungry bassists, as well) came in 1989, when Tech 21 came out with the SansAmp direct module, which combined the function of a DI box with some custom analog circuitry that provided amp-like tone without the need to actually record an amplifier. The use of DI boxes is common for bass recording, but they don’t have any particular “sound” and were therefore maligned by guitarists.
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These boxes can be fairly inexpensive, since passive DI boxes are often just a transformer and a few connectors. Obviously, this isn’t desirable, so the use of some specialized hardware for DI recording is in order.įor years, DI recording has used a simple box (generically called the DI box) to adjust the impedance of an instrument and alter it to interface with a mixer channel. If an adjustment is not made, you will probably notice a lack of high end in your signal, and also a very dead sound as the output signal is “damped” at the input. Few mixer inputs have this level of input impedance. Impedance adjustment is required to allow the instrument’s signal to “flow” more easily from the instrument to the recorder.īecause of the nature of magnetic pickups, most electric string instruments are high-impedance devices, so the mixer channel would need to have an ultra-high impedance to allow a decent flow of current from the instrument. For the best interface between two devices, you want the output device to have low impedance, and the input device (for example, the mixer channel) to have a much higher impedance. In short, all audio devices have both an input and output impedance, which determines the internal “resistance” of the device. Impedance adjustment is another beast altogether, and one of the least understood interface issues in the recording world. Almost any type of preamp will do for this process in fact, many DI devices don’t provide amplification, assuming that you will use the preamp found in a mixing board. Impedance adjustment, so the signal is properly transferred to the recording device.Īmplification is rather obvious-the output of most instruments is far too low to drive a recorder’s input.Amplification, so that the signal is hot enough to drive the recorder.Generally a device like a DI box (see below) is used for one or both of the two things that need to happen to get your instrument’s signal into shape for recording: In this article, we will review the options available for electric guitar and bass recording, with some ideas for increasing the flexibility of your recording system.ĭI (Direct Injection) recording bypasses the traditional amp and takes the pure signal from your instrument directly to tape or DAW.