Arm the track for recording, press play, and you should be capturing the source sound through the amp and microphone. Create a new audio track and make sure it’s set to External In and channel 1. You should now hear the sound playing through the amplifier.
In Ableton Live, solo the source channel and set it to External Out and channel 1. You may also want to sum your source signal to mono so you don’t lose anything when it passes through the amp. You’ll need a microphone preamp or phantom power to bring the microphone signal up to line level.īefore we go any further, make sure that your speakers are powered off so you don’t create a feedback loop. Run the mic cable back into the audio interface. If you don’t have a patchbay or even just one set of outs, you’ll need to run a cable from one of those outs (remember, guitar amplifiers are mono). With this configuration, all we have to do is run a cable from the bay to the amplifier. As it has two pairs of stereo outs, we have outputs three and four permanently routed to a patchbay. We’re using a first-generation Focusrite Scarlett 8i6.
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The specifics of how to do this will depend on the audio interface you’re using and how many outputs it has. Next, we need to get the audio out of the computer and into the amplifier. The Shure SM57 works best when driven hard and up close, so we start with a close-miked setup. We point the microphone directly at the speaker rather than off-axis, as we liked the tone we got with the GTR3, above. Let’s use a cheap Vox practice amp, the Pathfinder 10, and an entry-level Shure SM57 microphone to get similar results.įirst, we set up the amp and microphone. Traditionally, reamping is done by routing the unaffected signal out through an amplifier in a room. To something with more of a distinct tone, like this: Reamping can take us from this dry synth lead: Failing that, you can even just use the phone you already have. Out of the box, a practice amp and a basic microphone are all you need to get some air moving.
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Working in the box, a good amp simulator will get the job done. While they had Hansa Studios and all its amazing gear at their disposal, the good news is you don’t need an expensive setup to reap the benefits. Reamping was a common trick used by Depeche Mode on their mid-‘80s albums like Black Celebration to help them compete with stadium rock tracks on the radio. By sending our audio out into a room (either physically or virtually), we’re able to add an additional element of size and character to our part.
This is all well and good but what are the benefits for us electronic musicians? Some of us may be using guitars in our productions but if not, why bother? Aside from the convenience of having a clean track with which to audition different effects, the main thing we’ll be exploring today is air. This is popular in the world of recording, as it allows the producer and engineer to get a clean take of a guitar or other instrument that can then be further treated with distortion, chorus, and other effects. These two signals can then be blended together in parallel as needed.
In this tutorial, we look at how to use the technique of reamping to add size and character to dry sounds-both inside and outside your DAW.Īt its most basic, reamping is a production technique where you send a previously recorded dry track through amps and effects.
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