What’s new at Zystrix? Read on…
September 15, 2025
Re-amping
Guitar Tracks
in Your DAW
(part one of two)
In the last issue we looked at
The Guitarist’s
Nightmare -- Avoiding
and Dealing with
Tendinitis (click here
for a refresher). This
time we’re going to
look at re-amping
guitar tracks in a DAW (digital
audio workstation). So sit back
and relax. Welcome to Zystrix,
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Introduction to
Re-Amping Guitar
I never heard of re-amping guitars
before I discovered it for myself by
serendipity. I was using a 4-track
deck at the time. Hell, I thought I
had the world’s best kept secret until some months
later I read about it in a recording magazine. Oh
well. I guess that’s what’s called convergent
evolution. It’s the old joke about having a great
idea only to find out someone else just got back
from a year-long book tour for the same idea.
Damn. Then when digital recorders came out they
made pristine sounding re-amping possible. I re-
amped all the basses and guitars in all the bands I
engineered at the time in the 1990s and early
2000s. Now days re-amping is done all the time,
and it’s a great way to change or repair or add to a
guitar tone.
What Is
Guitar Re-amping?
Re-amping is basically
recording the original guitar
tone straight off of the guitar,
sending this clean signal from the DAW
into an external guitar amp effect (ie
distortion pedals with an IR box, a
Valetron GP-5 or any one of
many modelers, an amplifier with
a cab that’s mic’d, and many others),
and then re-recording this signal back to the
DAW. You can also record the clean signal from
the guitar along with the mic’d signal from your
amp and cab, or modeler, or guitar pedals with an
IR pedal. And maybe you like the
sound of your original mic’d guitar
cab (or whatever you used and
recorded). Good. But just like
wearing suspenders and a belt, it
protects you from losing control of your tone.
Another nice thing is the clean track can be used
for stacking guitar sounds. A cool example would
be to flesh out your real amplifier sound with a
plugin amp emulator. Another nice thing is that it’s
easier to edit guitar that has no amplifier overdrive
adulteration. Simply find the sweet spot for the
guitar edit and this will also apply to the clean and
mic’d (overdriven) signal.
Do I need to purchase a
high-to-low impedance
guitar output box?
No, not necessarily.
However, some musicians
use a high-to-low box to split
the high impedance (guitar)
signal (to the amp or modeler
or whatever) and run the low
impedance signal
to the DAW interface. This method also
gives you the option to run a longer
guitar cable if the high-to-low box also
has a low output for guitar. On the
other hand, if you are using something
like the TC Electronic Polytune 3 your
signal is already low impedance and
the high-to-low box is not needed. But
you’ll need to split the signal, and
passive splitters are cheap. And if
you use the Joyo Cab Box (among
many other stereo or dual output
pedals) you already own a splitter. However, if
your signal remains high impedance then your
guitar cable should be no longer than about 10 feet
(about 3 meters) combined length to your DAW
interface to conserve the high end (high
frequencies). For more details on the cable and
impedance topic visit the first cables issue and it
continues on into the second issue. If it turns out
you do need to split your low impedance guitar
signal, a cheap simple splitter will work fine if it’s
shielded, and it won’t cost very much. Check the
gear you presently own for ways to split your signal
before spending money on a box that
may not be needed.
Do I need to purchase
an output re-
amp box?
In a word, no. However,
you must use your ears to
find the sweet spot for something close to unity
gain from the DAW output. You also need to know
how many outputs your DAW interface has
because this will make a difference in your re-
amping wiring. As far as coming out of the
recorder goes, the signal must match the voltage
coming out of your instrument so you are not
feeding line level voltage into an instrument level
jack. Modelers sound especially horrible over-
driving the input. Many instrument input
level devices (amps, modelers, pedals,
IR boxes, and so on) do not tolerate line
level output at their input, so the line
level must be adjusted to approximate
instrument level to avoid a messy sounding re-
amp. There are devices dedicated to do this, but I
simply adjust it by ear to what I prefer. I have re-
amped hundreds of guitars for many bands and I
NEVER had to use a re-amp box of any kind. The
only thing needed was to send the guitar signal to
to a high-to-low impedance converter box
(because the TC Electronic Polytune 3 was not
invented yet) and split the low impedance signal to
the recorder and the high impedance signal to the
nearby guitar amp or emulator.
The Sound is Behind,
or the Guitar is Late
There is going to be some latency
(an amount of time from leaving the
DAW to returning to the DAW), and
this is easily fixed (if it matters to you) by shifting
the re-amped guitar track by the time difference.
You’ll need to compare the two tracks to figure out
the latency time. So if it’s 2 milliseconds late
simply move the re-amped guitar track ahead 2
milliseconds. Sometimes this makes an
audio difference and sometimes it doesn’t.
Sometimes it adds an interesting lag. The
main thing to remember is to make sure
the guitar phasing is matched so your
massive amp tone doesn’t sound like a
mosquito. To repair any guitar phasing
issues I prefer the Waves InPhase,
although the Melda MAutoAline is also quite good
and it’s a little easier and cheaper. And if you
prefer absolutely no lag time or you don’t want to
bother setting it up yourself (and you use Reaper
as your DAW) simply use the plugin
called ReaInsert and it automatically
repairs lag times. A beautiful thing.
Should Pedals be
Recorded before
Re-Amping?
If you are the type of guitarist
who plays their chorus pedal, or plays their fuzz
pedal, or who plays their wa-wa pedal (and who
doesn’t?), then I would say, yes, record
those pedal sounds to your original clean
signal. The reason being you’ll never be
able to exactly copy what you played
before and it will come off sounding
artificial with the feel all over the place. But what if
you also play your guitar volume knob? That’s a
tricky question because sometimes the volume
doesn’t track properly, or sometimes the knob
jumps in volume or crackles, or
sometimes the guitarist isn’t accurate
or needs more practice. I have had better
luck with not adjusting the volume knob on
the guitar and drawing in the volume swell on
the DAW before the re-amping begins.
This way it’s consistent and free from
weird artifacts. Conversely, some guitarists are
clever and pull it off very well. Once again, it’s all
about using your ears.
Conclusion
Guitar Re-Amping
Part One
Re-amping is commonplace in studios today. And
it sure helps with finding the correct guitar
sound(s). And it’s also great for repairing guitar
playing mistakes because the recorded guitar is
unadulterated. And if you like layered guitars it’s
cool as hell. Also consider
the Mimiq. But before the re-
amping comes the
performance repair.
And don’t forget, bring
your phasing meter.
Don’t touch that dial…
Stay tuned next time…
In part two, the final guitar re-amp
issue, we’re going to explore the signal
flow in re-amping guitar in a DAW (digital audio
workstation), and we’ll make our first re-amp.
Maybe I’ll see you then.
I never let my education
get in the way of my ignorance.
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