Re-amping Explained

Re-Amping is a technique used by recording and mixing engineers to process recorded audio with analog hardware specifically guitar equipment.
In our direct box basics article we explained the use of a direct box in the studio, a re-amp box is used to take that clean direct guitar or bass signal and run it into a guitar amp if needed later on in the production process.
See all DI and Re-Amp boxes at Revolution Audio

What does a re-amp box do?
It is often said that a re-amp box is just passive DI box in reverse, which is untrue. A DI box converts a high impedance, unbalanced instrument level signal to a low impedance, balanced mic level signal. A re-amp box converts a low impedance, balanced line level signal to high impedance, unbalanced instrument level signal.

The goal of the re-amp box is to make the amplifier react in exactly the same way a live guitar would, but with a pre-recorded audio source. Without the re-amp box there will be an impedance mismatch and loss of tone. Hearing your guitar rig play itself can take some getting used to!

How to?

Once you have the clean DI recorded, set the track's output to analog out 3 of your interface (you will need an interface with more than just monitor outputs). No other tracks should be set to this output.  Connect output 3 of the interface to the Re-Amp box with a TRS to XLR-M cable. Connect the Re-Amp to your pedals or amplifier with a standard instrument cable. Check that you are getting a good signal to the amplifier, adjust the output level to match a live guitar input.
If the signal is noisy, try the ground lift switch.
Record the amplifier as normal with one or more microphones.
Double check your routing to prevent feedback.

Why Re-amp?
The decision to re-amp could be for a number of reasons:

• Convenience - You may like to write and record guitar parts at 3 AM but your neighbours don't just don't understand. Record with an amp simulator silently and re-amp through your big rig later.
• Budget - There are many professionals with big amp collections offering a Re-amping services for much less than the cost of even renting the amp of your dreams.
• Experimentation - After you've got the perfect take captured you can experiment with different amp, cab, mic and positions as much as you like.
• Plan B - All too often we are rushed in the studio, it's easy to make a mistake with mic position or perhaps just a bit too much overdrive than we'd like. If the performance is fine we just have to tweak the amp.

For best results
While there are many fancy direct boxes, if you are planning on re-amping you will likely find the best results are achieved through the simplest direct capture. A Tube DI or Tube preamp may be too colored and change the sound of your amp. Warming up the sound of the mic on the amp, rather than the DI is the better option. Feel free to experiment of course.

Usually the signal you send to the amplifier will be completely unprocessed, however you may wish to experiment with gating, light compression, and EQ.

Much like the way your guitar volume affects the character of the amp, sending the right level out of your DAW can be critical.

Options
The Canadian company Radial Engineering offers several Re-Amp devices for home and professional studios:
Radial REAMP JCR $199.99
Radial X-Amp Active Re-Amp $199.99
Radial ProRMP $119.99
Radial Re-Amping Kit (includes X-Amp and J48 active DI)

Double Tracking Guitars

Double-neck guitar optional

Double tracking is a very common recording/production technique for almost any genre of music. When it comes to rhythm guitars, this technique is almost a standard method of recording with single tracking used only for solos.

This is also a technique that is often confusing for beginners.Double tracking simply means recording the same part twice and panning each to opposite sides. This creates a wide stereo spread based on the unique nuances in timing and dynamics of each performance. This is the guitarist playing a section of the song perfectly, then repeating it as closely as possible on a second track.

This isn't the same as recording in stereo, using two mics, using a chorus effect or duplicating and delaying one side. Some of these techniques are ways of 'faking' or 'automatic' double tracking, but are simply no substitute for an expertly performed double track. There must be two separate performances for the effect to work.

How To double track guitars
1 - record mono rhythm guitar, with either a microphone on a real amp or virtual amp. This track would be panned center.
2 - when a good take is achieved, and any punch ins are finished, go through the recorded track and tighten up any timing issues.
Here's how it sounds with the first guitar along with drums. The guitar is in the middle.
[mono guitar] (warning heavy metal!)
3 - after editing, pan this guitar (and any extra mics for this performance) to the left.
4 - That was perfect, now play it again! Make a new track and pan it right.
5 - repeat steps 1 and 2 using the same guitar, pickup selection, amp, microphone and any other variables unchanged. Making a change will increase the stereo width but will often result in an unbalanced tone.
Here's the same part with the doubled guitars.
[doubled guitar]

This repeats for each section of the song and if there are multiple guitar parts written or two guitarists in the band, usually each will be double tracked. If there are two guitarists in the band, there could be some confusion. Guitarist 1 plays all his parts twice, guitarist 2 plays all his parts twice. In a simple song this would mean 4 tracks for the rhythm guitars. Often this gets up to 12 or 16 tracks pretty quickly. Guitar solos are usually right up the middle or 'stereoized' with other techniques to make them pop out.

You have to be careful playing the doubled part, if it's too far off from the original it will make a unwanted ping-ponging effect especially in headphones.
Quad Tracking is exactly the same, but you record each part 4 times. Each take has to be perfectly in sync or it just sounds like a terrible mess.

Poor alternatives
So why can't we just duplicate and delay/shift the recording a little for the same effect? Well, simply because it sounds like crap and I'll show you.
[delay]
This is what happens when you copy the original mono recording, delay the copy by 20ms and pan each hard left and right.

Similarly, why not use a stereo chorus?
[chorus]
Still sounds really bad compared to double tracking. I'm not saying don't ever use Chorus, just don't use as an alternative to the big wide powerful double-track sound.

Productivity tips for home recordists

Often our time to work or play in the studio is limited. There is nothing more frustrating to leave the studio feeling like you've got nothing accomplished. In this article I'll share some productivity tips that I use in my studio.

Don't blame the computer, it's your short attention span!

Remove distractions
If you find that you're spending more time on Twitter and Facebook than actually working on music, UNPLUG from the internet! Sometimes signing out and closing the browser isn't enough.  I do this when I really have to get something done on a deadline, otherwise it easily takes 5X longer. This will help avoid the urge to look online for new samples or plugins or DAW updates.
Next, turn off your cellphone or leave it in another room. It's just a good habit to get into. Besides being a potential distraction, a ringing phone can interrupt a recording and cell phones often cause interference in mics and guitar pickups.
Some people thrive in chaos. For me, a messy workspace is a distraction. I don't need anything on my desk except keyboard, mouse, and a cup of coffee or water. I like to do a 30 second clean up of my desk by taking a cardboard box and tossing everything I won't need into it. The box goes into the closet. Amazingly more than half this stuff never comes out of the box again.

Have a goal
If you go into the studio without a purpose, you probably won't accomplish anything. The goal doesn't have to be big, in fact it's better to have many smaller goals because it feels good to start and complete a task. Goals like "I'm going to learn Song X"; "I'm going to record all the vocals for my newest song"; or even "I'm going to play with this new synth plugin." It's ok to spend time learning a new technique or plugin, just try to keep the experiments separate from your 'work time'.

Be prepared
Make some songwriting templates so that you can get right into recording when inspiration happens. If you already have a bunch of songs recorded, you can remove all the audio files and save it as a template. Think about how much time you just saved!
A template for a heavy metal song would be something like 1 instrument track for virtual drums (already set to an appropriate metal preset), 3 audio tracks for guitars (panned Left, Right, Center) with high-gain amps on each and a 1/16th note delay on Center track, 1 audio track for bass, 2 audio tracks for vocals (with compression), 1 reverb bus.
An electronic music template could be several instrument tracks with your favorite synths on each and a few FX buses with your favorite presets.
Before you sit down to mix, make sure all the distracting timing and pitch issues are taken care of and all extraneous noises are removed. If you are going to replace some of the drums with samples, set up a few options ahead of time so when you're mixing, you're ONLY mixing, not editing and mixing.

Schedule breaks
This might seem a bit weird, but I've found this technique to be really effective, especially at crunch time on a project. I set a timer for 25 minutes, I work non-stop until the timer goes off. I do something else for no longer than 5 minutes. Then set the timer for another 25 minutes. After 4x 25 minute segments I break for 30 minutes. On the breaks you don't want to do anything that would fatigue you further. Washroom, snack, check Twitter, or just relax your eyes and ears. It really works!

What is YOUR distraction in the home studio?

Recording Bass Guitar

Bass doesn't always get the attention it deserves in a recording situation. I see a lot of home recordists rush through bass recording, only to later be frustrated with the bass when it comes time for mixing. It's really too bad because it's the foundation of the song. A great bass will groove tight with the drums and support the guitars. Fitting it in the mix will take minimal effort and you will be loving life.

A great recording starts with a great source. When it comes to tracking bass guitar, the source is comprised of many factors:

• Musician:
• Technique and playing position - Playing with a pick or with fingers or thumb. Intensity, Playing close to the bridge, in the middle or close to the neck. Choose what is appropriate for the song
• What is played - playing bass lines that serve the song and don't clash with the drums or guitars rhythmically or melodically.
• Tuning - Check the tuning often

• Bass:
• Strings - new strings usually sound best and give you the brightest tone to start with.
• Electronics (Pickups and EQ) - The pickup selection and tone settings
• Wood and construction - The wood used in the neck and body really effect the sound. Maple and Ash are bright and punchy, mahogany is thicker and darker.

• Amplification chain:
• Cable - debatable how much impact this has, how about just using one that doesn't hum or crackle if you move it.
• Pedals - If a particular pedal helps get you the desired tone, go for it. I would hold off on spatial effects (delay, reverb) until mixing as they require their own attention.
• Amplifier and EQ settings - tube or solid state. As a starting point put all EQ knobs at 6.
• Cabinet - 1x12", 4x10", 1x15"
• Cabinet position - where in the room, close to walls, on the floor or elevated

Everything contributes to the sound you'll be recording, do whatever you can to get this close to what you need from the start. It won't be the same for every song so you may want to have a few options for basses, though a Fender Jazz bass or MusicMan is versatile enough to get you what you need 80% of the time. Rent or borrow what you don't own before looking for magical plugins to solve all your bass problems.

In my experience getting good bass gear for recording made my life so much easier further along in my projects. For recording you don't necessarily need a massive bass rig, I use a Sterling Ray 34 (Low-end Music Man. Swamp ash body, maple neck, humbucker pickup with active EQ) into a small Ampeg BX112 solid state combo amp with a single 12" woofer. Greatest bass recording gear ever? Ha, far from it, but it got me so much closer to the sound I was looking for. Prior to that I was fighting with a mahogany bass that was deep but had almost no midrange when recorded making it hard to hear clearly in the mix.

A great bass tone in the room is more likely to inspire a great performance. Now you need to capture and enhance it.

• The Recording Chain:
• Mic selection - Dynamic mics and large diaphragm condensers are most common for bass amps. Spend some time comparing.
• Mic position - distance and angle play a big part as always.
• Direct Box (DI) - A direct box allows you to split the signal from the bass, one side continues to the amp, the other goes to a preamp.
• Microphone Preamp - Every preamp has its own tone. A pad option may be required.
• Compressor - Optional but worth testing if you have the option. Its very common to compress the DI track while recording in pro studios.

Record at a conservative level, if you're really digging in for a grindy tone keep the peaks no higher than -6dBFS (DAW metering). An average of anywhere from -18dB to -12dB is all you need. Dynamics will likely be reduced and additional processing is inevitable by the final mix. A clipped signal is useless.

Can you get a great bass recording with just a DI (or plugging right into the interface)? Yes. Can you get a great bass recording with just an amp? Yes. Splitting the signal with a DI before the amp and recording to two tracks gives you more flexibility when it comes to mixing. You may prefer the sound of one over the other, or a blend of the two.

When you do blend the DI and miked amp signals in your DAW it is very likely that you will hear some phase issues. The problem is caused by the DI signal gets to the interface before the mic signal does causing a slight delay. Try inverting the polarity of one of the tracks. This will usually be a dramatic improvement in the low frequencies. This can further be improved by delaying the DI track, often just by a few milliseconds or even samples. You might find it easiest to start with the tracks 'out of phase' then adjust the delay until you have the most cancelation, and invert the polarity again (now in phase). You may not get it to be absolutely perfect but do try to find the best compromise.

By now you should have a good, very usable, better than average bass track recorded into your DAW. We won't get into processing and mixing bass in this article, if you really need info on that right now, check out the Sept 2011 issue of Sound On Sound, great tips on mixing bass in there.

Have a listen to the audio examples I've prepared. Compare the different playing styles, mic position, mic type. In the delay compensation file, notice how the tone changes quite dramatically just by delaying the DI in increments of 10 samples.

Bass Recording Examples by RevolutionAudio