So, a few of you may remember the blog from last year where we talked about impedances, and why they matter in order to get the best sound quality from your JZ microphone. Just to quickly play devil's advocate on myself, it’s worth noting that in my own experience, I know many guitarists that prefer to have the sound of the amp in the room as they play and record, mainly as more of a feel sort of thing as opposed to needing to commit to a tone there and then - but committing to a tone early on will also help you build structure to the sessions as well and push you to make choices in the moment having a DI will allow you to change things later on if you decide to, as we’re going to discuss today.Īs you can see, the DI section of the ISA One preamp is perfect for tracking a wet and dry signal for a guitarist. You can do this same technique in a few ways though if you don’t have a preamp that can do this, and a lot of DI boxes have this as a built in feature anyway. The best part about the DI feature on the ISA preamp however, isn’t just that it sounds great, but that it also has the option to feed that same DI signal to an amp in another room, allowing you to record both the wet and dry guitar signal, and therefore giving you the option to commit to a tone or have the artist record while literally feeling the amp sound in the room, as well as the option of the DI guitar should you need it later down the line. In my studio, I actually have a few DI boxes that are their own standalone products, but I also have my trusty Focusrite ISA One preamp which has a great DI built into the design. We’ve talked a few times about why a DI Box matters and how it can greatly affect your signal in general, aside from the practical uses of it in the studio and live, specifically for bass guitar.īut having a good DI Box will also allow you to go back and change the tone if you decide later down the line that you aren’t as happy as you once thought you were with the tone you got when tracking the artist in the first place, (but we’ll talk about that more later). There’s really 1 main thing you need to make sure you do when recording any guitar takes in general in order to give you the best options available after the fact, and that's making sure you always record a DI track. Well, that’s exactly what we’re going to solve today.
We’ve already covered using Bass FX for guitar tone, the main 4 parts of your guitar tone in general, and blending guitar amplifiers and microphones to get the tone you’re looking for - but what if you wanted more options after you’ve recorded your riff? What happens if you commit to a tone in the studio and you end up changing your mind about it later on? if its only to add FX I would see what kind of results you can get without it first.We’re finally into week 4 of this month's focus on Why Guitar Tone Matters, and for many of you, this won’t come as a surprise, but today's topic is filled with many layers of Guitar goodness. I started with a Model D synth and guitar pedals similar to your scenario but I found the reamp wasn't necessary for my particular situation. While you can skip the reamp box I never liked the results of a line level signal going into my rig. I primarily use the reamp box to send a dry gtr track to my amps for "reamping". If I want something pristine I stay in the box but using an analog delay where the tempo is never truly locked gives me a nice addition. While it's TRUE, I am going into those fx with line level I am returning them to inst level on my interface, while doing a trim on the external FX SEND in my daw. I do not use a reamp box for that but I also wanted a "different" outside the box flavor. Analog Delay, Chorus, Rockman, pocket POD, also an old pioneer spring reverb that was built for stereos in the 70/80s. I actually have a few pedals hooked in my DAW as external FX. Basically your looking to change impedance.Ī regular DI will go instrument to mic levelĪ reamp device goes line level to instrument level.
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