As long as I even 1/2 way got it to tape in good shape the 1st time around it worked fine. Well then I finally graduated to 30ips and then it was sooooo much better. Then I graduated to 15ips and it made a big improvement but I still had to be careful and get it to tape at a very hot level. How much you lose will depend on the quality of your recorder 1 and your quality of getting it to tape in the 1st place 2 and of course the quality of the 2nd recording 3.īack in my early days of recording I had a 1/4 tape machine that turned at 7.5 ips and re-amping on it was almost not worth doing, but me being stubborn like I am I would record the very hottest and cleanest signal the 1st time around and then sometimes I would end up with an acceptable re-amped track but it seems like it was a lot of hit and miss with the 7.5 ips machine. Well Randy, speaking from experience you will lose some quality re-amping the analog way. My Bad but maybe someday you'll want to try this way and at least you'll have some reference to it Good luck! In all the excitement of seeing another post about re-amping I just didn't take enough time to understand your post was talking about running thru a recorded dry track then back thru another live amp and Mic rather than the newer digital way. It's just now that I have the technology not to lose another generation of the original dry track I've been trying to learn how to do it. The way you're talking about has been widely used for many years and I'll bet we'd be surprised how many great sounding steel guitar tracks started out as a dry track with the intention of re-amping it. The process you're speaking about has been around as long as their have been multi track recorders and Mics. Hey Randy, that's right I guess the point I was wanting to make is once you get your dry signal on a track you can do anything you want to with it. Well have fun and remember if you're not having fun in the studio it's time for a break :-) Well with folks that don't have digital effects with extra outs that's kind of hard to do so I usually let them record with any tone they desire and I try to grab a dry signal thu a direct box connected from their speaker out or actually any place I can grab one that way I can reamp them later in the mix. I have found lot's of players (including me) just can't play unless they are hearing the exact amount of effects that they usually hear live. I always send a dry signal to an extra track if there is any way to do it at all so I can rework it if needed. I have found reamping to be one of the easiest ways to get a good tone for just about any instrument. I have a feeling it will step up the quality a notch or 2. So far I've been reamping thru the Pod Pro analog in's and outs and it has been very suitable for my needs but I've got the digital in's and out's why not use them. I just posted a question/explanation about reamping thru the spdif in and out on the Pod Pro so we'll see if anyone else is doing it. Randy, I use to reamp with Native Instruments guitar rig 2 but since I've got my Line 6 Pod Pro I sold my guitar rig 2 and now only use the Pod Pro exclusively for my lead guitar rig.
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