#Reamp box schematic series#

Test 3: Surprisingly, the tone was pretty much exact to the audio from test 1, except there is a type of 'hiss' similar to white noise present in the track. But most casual listeners would not notice, but I noticed, and anyone who is in audio recording would notice. There was definately less of an edge on this one. It had bite, depth, and everything that I heard coming from the amp while listening in the room. I recorded the same guitar riff to a metronome in tests 1 and 2, of course text 3 was the exact same performance as test 2. Test 3: I took the direct clean guitar that was recorded from test 2, ran it out to my ReAmp Box, and back into the Peavey XXX. But the mics and cab were all the same and in the same spot etc. Of course there was also a mic cable going from the Radial J48 into a pre-amp in my system so I could record the direct guitar signal. So the chain was Guitar to Radial J48 to Peavey XXX. Test 2: Same as above but with a Radial J48 Active Direct Box in the chain. The chain was.guitar to Peavey XXX, miced up with a pair of Shure SM57's (in Phase) on a Celestian Vintage 30 inside a 2X12 Genz Benz cab. Test 1: The guitar plugged directly to the amp with nothing in-between. I wanted to know if and how the guitar tone was affected or how it was changed (if at all) by re-amping. I have more in depth info, but to quickly post my most important findings. I have done some testing on everything involved with re-amping back to areal amp. As mentioned above the real trick is to match your impedence of the DI track that is being outputed from your system to the amp. The key thing again was to drastically reduce the level of the output from line level down to something reasonable. When I used to do the same thing using amps I never found the need to worry about the impedance presented to the amp by the interface - any fx in the run will alter the impedance seen by the amp from that of the guitar and generally speaking most guitarists don't find that much of a problem. No need to match the interface's output impedance with the sansamp as they handle it fine, just reduce the level coming out of the interface until the gain sounds sensible. If I don't like it I just run the 'clean' signal through the same sansamp set differently or to the other one. The sansamp then goes to another interface input and I record both. Guitar goes to all (analogue) fx then a DI box with the direct out feeding the sansamp and the XLR feeding a mic input.

#Reamp box schematic series#

I still use the record the amp+the 'clean' guitar as my usual way of working, only I use sansamps, character series Blonde and Leeds (I can't use a real amp at 'meaningful' volume without more than upsetting the neighbours).