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, the heartbeat of the universe. Where creativity and free-thinking have more value than conformity. Background Artwork The colorful artwork that surrounds the edges of this website is invisible to many cell phone users. It’s included here (with others) for your enjoyment. Multiple copies are tiled together for a cohesive and seamless background seen all around this page. Enjoy. 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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