What is your re-amp process?

So the buffered DI is just for the post pedal sound... for the pre-pedal sound you're using a standard passive DI and splitting the signal there?

Same. But in my current live room I could see possibly using a DI signal.

Also, I don't keep my best amps in my practice room because I either use them on stage (too lazy to load in and out of practice room) or because they're too old to drag around everywhere. Kind of a shame to not at least have the option to re-amp through those. 

Little Labs Redeye DIs are perfect for getting DI takes of guitar signals. They work in active or passive mode, so you can use them with guitars with active or passive pickups. They also have reamp capabilities too.

You can use Redeye DIs to grab DI splits at multiple points (naked guitar, post dirt pedals but pre time-based-fx pedals, post entire pedal board, etc.). Redeye DIs are a no brainer for guitars.

I use RNDIs for bass and organ. They capture the low end well. I use three RNDIs for capture of my Hammond and another RNDI for direct capture of the bass. The rest of the bass DIs are directly out of the bass amp head itself.

I have a redeye as well as a pile of countryman 85's. If I need to take DI of a guitar I usually do a "before effects" DI (just the guitar), then also an "after effects" DI (guitar plus effects). I've had too many situations where the artists dial up way too much of the effect(s) or set the amp wrong or something or we simply changed direction or the mix needed something different.

This way I can always go back and adjust things without having to redo them.

Also got real tired of the "just tell the artist to redo it" advice and the backlash it creates.

It's really hard to tell an artist that they need to redo a ton of the song when everyone agreed it was fine during tracking. It makes you look like a moron when you have to tell them that you *thought* it was fine, but it turns out it wasn't for whatever reason.

Not everyone is sympathetic to your job when it's their money being spent on what they believe to be your mistake.  This completely negates all of that.

I use a Countryman 85 for a DI signal. Then I use the Radial re-amp box to re-amp. Simple. I get takes with the Iridium or Suhr RL and then re-amp a bunch of stuff when I have a day when I can be loud. I built some satellite cabs as well, so I can stick them in other rooms of the house, or out in the shop if I'm up at the cabin, and keep the amp controls with me. Tweak the amps, pedals, while monitoring just the recorded signal, and then record it when I'm happy with what I've got going.  

Also, sometimes I just keep the Suhr RL take, because it sounds great.  And sometimes I re-amp into the Suhr.  

For me the issue is that I'm having to choose between keeping my guitar amp out of the vocal mic or keeping the cymbals out of the guitar amp. This is for a project where I'm capturing live rehearsals in a 12x15x10 room so compromises are gonna happen.

I'm landing on "take my chances with the cymbal bleed" into the guitar amp's mic but it's dawning on me that for relatively little effort I could fall back on a re-amp plan. Right now the bleed sounds fine, but that's with the guitar flat. If the mix calls for some creative EQ or style-driven compression, I could see it really making the cymbals sound weird.

Kind of an "ounce of prevention is worth a pound of cure" type thing.

Countryman DI pre pedals, and it mostly only gets used for when I have to edit something super tight and the overdrive or crazy distortion they have happening at the amp makes it hard to see what’s going on. Really easy to land cut marks in a DI signal, group everything with it and edit away. I’d say less than 5% of the time it gets sent back out to reamp, if need be I’ll use something in the box off the di track.

I totally forgot about that SA product.

What do you make of Chad's theory that DI signals need to be boosted to drive amps properly? This is definitely against the grain though his explanation makes sense in theory.


www.signalartelectronics.com/product-page/signal-art-reamp

Yeah, I've never regretting buying anything Chad has been involved in.

But I'm not experienced in this area so I'm going to keep digging. The SAE DI pushes sound out at +10db (6db higher than standard +4) and has an attenuator. Do you find this feature helpful or are just attenuating the signal back down to normal levels anyway?

I'm attenuating it to where it's manageable in the DAW then compensating as needed on the way back out. So having the extra output available, as needed, is a godsend.

Ok, thinking about pulling the trigger on the Little Labs Red Eye, but I'm wondering about something else.

Why wouldn't I just send my output from my pedalboard into the instrument input on my interface (MOTU Ultralight AVB in this room) and then send the line out to something like a Radial ProRMP and then into my amp. I can do that with virtually zero latency in my setup and I'll be hearing what basically is a re-amped signal.

For my purposes (which are to possibly re-amp the guitar if mic bleed in the guitar amp is problematic) wouldn't this be the same function as the Red Eye but at less than 1/2 the cost? And the Red Eye is not prohibitively expensive, but if I did it this way I could afford two setups like this for the room whereas I really can't afford two Red Eye's.

What do you guys think?