All Mixed Up? Reamping Techniques — by Jamey Staub

The first in a series on raising your mix game, from the accomplished NYC mixer/producer Jamey Staub. Visit him early/often at http://www.jameystaub.com.

As most of you know, the job of a music producer requires one to be versatile: Projects range from A-list celebrities to unknown bands that need development.

Jamey Staub gets into reamping options with the debut of "All Mixed Up?"

I’ve worked with everyone from Everlast to Korn to Mary J. Blige (that’s the A-list), but a recent project of mine falls in with that “unknown” category — I recently produced a young rock band by the name of IspaceWalkSometimes.

I love these guys not only because they write great music, but are amazing musicians for their age. They are also former students of mine.

We had a very limited budget so we had to find a reasonable studio and record as quickly as possible. We chose OK Records Studio in Nyack, New York and recorded eight songs in fifteen hours.

Reamping to the Rescue!

A problem that arose during the mix phase was the guitar tones that were recorded due to our limited time restraint in the studio — we just did not have enough time to dial in the perfect sound.

This is not uncommon and can be fixed by several methods. One is the process of “reamping,” and there are several ways to go when this issue arises.

One way is to utilize a reamping device. A re-amping device commonly employs a reversed Direct Inject (DI) transformer with some resistors added for level and impedance shift. Level and impedance adjustment can be achieved by adding a potentiometer or adjustable resistor.

An honest-to-gosh reamping device.

A proper re-amping device converts a balanced signal to an unbalanced signal, reduces a high studio-level (line-level) signal down to a low guitar-level signal, and shifts the output to a high instrument-level impedance (typically a guitar pickup impedance).

In this case you can take a recorded signal, run it back through the guitar amp of your choice and take the time to adjust the settings to your liking as called for by the song style. We often used this method in the late ‘80’s and ’90’s.

Reamp it in the Box – the Right Way

These days, however, there are other options. What I did on the song “What’s Left to See,” by IspaceWalkSometimes was much simpler. I used a plug-in! The song is an Iron Maiden-inspired tune with multiple lead guitar melodies.  One of the guitar tracks was too clean for the harmony track, so I put a guitar amp plug-in Amplitube on the insert and voila, after a bit of tweaking got the sound I wanted for the track.

There are several other choices such as Amp Farm which I love because of the many different amp choices available, plus the graphics are cool. Logic Pro also has a decent amp simulation plug-in. And of course you can choose the type and placement of the virtual microphone which, is fun and interesting.

One thing to watch out for with plugins, however, is reamping an already distorted signal. By reamping distortion you can end up with a sound fraught with too many harmonics resulting in white noise and no tone. If the signal is too hot to put an amp simulator plugin on the insert, create an auxillary track and insert the amp simulator there. Then buss the pre-recorded signal to the aux track and adjust the input level via fader level of the original track. This allows you to control the amount of distortion or other effects in the plug-in world just as the reamping device does in the physical world.

You can then buss the aux track to a new audio track and record the result to make your mix complete.

Into an Amp and Back

Plug-ins are easy and useful, but what if your simulator doesn’t have the amp that you’re really looking for?

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  • SupaMan

    Very nice. Solid article.

  • ShadowⓋ

    Bullshit. He failed to mention how many signals are ‘dry’ with little or no distortion on them. This can be very confusing for the novice and might make someone think reamping is done by just using a single track with plugins only, which isn’t usually the case. There’s usually a lot of layering going on using a combination of both normally recorded and dry DI tracks. The article reiterates the same thing like three times and doesn’t clearly explain a thing. It’s more like a vague outline of convoluted knowledge. Very confusing and definitely not concise.