The Radial Reamp JCR is the latest version of the original Reamp that was designed and patented by John Cuniberti. Best of all, you can Reamp the track later as the production develops. Once the magic has been captured, you can send the guitarist home and Reamp the track at will as you move the mics around the room, try various amplifiers or introduce effects.
The benefits are tremendous: instead of worrying about the sound of the track, you can focus your attention on getting the best musical performance. The Reamp JCR is a passive Reamper that allows you to take a prerecorded track and send it back to a guitar or bass amplifier and re-record it. Reamping also encourages experimentation, as it’s easy to try out effects and other outboard gear with the luxury of time.The Radial Reamp JCR is a high-performance passive Reamper that lets you take a pre-recorded track and send it through a guitar amp or pedal chain without noise. Attention can be paid to refining the bass sound, and the added sonic dimension of a miked amp can be blended with the direct track to produce the final product. Our reamp eliminates all of the problems that make us an afterthought on tracking sessions: The engineer needn’t be concerned about bleed into other mics or feel pressured to focus on the band’s more complex challenges. Anything that the instrument-level signal is plugged into doesn’t somehow discern that the track was recorded at an earlier time. The purpose of a reamp box is to re-record a bass performance through a different signal chain than was used on the original session, at some point after the fact. A reamp box takes this recorded line-level signal (from the recording system’s line output) and converts it back down to instrument level. Once the bass is recorded this way, its amplitude on the recording media is nominally at line level - much hotter than the original output of the bass. In essence, a DI “tricks” a mic preamp into treating the bass signal like it’s coming from a mic. In doing so, bass becomes easily integrated into the typical recording signal flow, wherein microphones are connected to preamps that boost their signals to line level for recording to a computer or tape. Remember, a DI is designed to convert the instrument-level signal from a bass to a balanced mic-level signal. Reamping begins with a dry signal recorded with a DI.
#REAMP RECORDING STUDIOS PLUS#
Given all that, plus the fact that a bass amp is cranking out low frequencies that are nearly impossible to completely isolate, it’s obvious why the average bass player merely gets a DI and about ten minutes of attention. This all occurs before the additional (and significant) complexities of choosing the appropriate mic preamp, making corrective EQ and compression adjustments, and ensuring suitable gain staging. Even our closest instrumental cousin, the electric guitar, is almost always recorded via a miked amplifier, due largely to the integral role of the amp in creating the guitar’s tone.Īs a studio owner and engineer myself, I know well how much time and energy is dedicated to carefully choosing and placing microphones, constantly checking for unwanted phase cancellation, inadequate frequency response, HVAC noise, rattles and hums, and the other nagging little annoyances intrinsic to the process.
The reasons are practical: Unlike drums, piano, and other acoustic instruments, bass is easily recorded with a direct box (DI), eliminating the need for a microphone.
As I’ve oft-lamented in the past, when it comes to the priorities of the average recording engineer, bass is often near the bottom.
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