This means that, in practice, a captured DI in your DAW is not for the most part a '+4 signal', whether it is by technicality or not.
DI tracks need headroom in the DAW not to clip on the loudest transients (which are wildly higher than the signal average), and have a shockinly low signal average outside of those peak transients. In speaking with Glenn and othere professionals, I came to realize that, although a reamp is designed to transformer balanced line level to unbalanced instrument level and therefore 'shouldn't need gain' (as I previously believed), the fact is that a properly captured DI track is extremely dynamic. Your tracks are too important to risk with anything less. Unlike every other mass produced reamp on the market, I personally make sure each and every one of these are absolutely perfect before they go out. Also if you have older sessions with poorer DI tracks that need to be re-amped, this can help inject a little more energy and weight into those tracks.Įach of these reamps are personally hand-wired and built by me and are sweep-tested for phase, THD, level, and frequency response. In the end, this is a great alternative or second ReAmp to use, and if you do indie rock or alternative, it may be a great first choice. These effects are usually subtle but quite audible when compared to our standard (transparent) DI. It can make a thinner DI (due to cheap DI or cheap pickups) sound chunkier and fuller, and add a bit or weight and gnarliness to overly sterile guitars.
This box sort of bakes that in, and so what you hear (psycho-acoustically) is a thicker, more intense rounding of the lower mids. What this does is not directly inaudible on guitar (no guitar note or guitar amp or guitar speaker cones hits 25hz), but the effect is the type of finely tuned phase distortion that occurs from using the 'boost/cut' trick on a Pultec at the lowest bass setting (which is a secret weapon for guitar tracking, believe it or not). There is a very slight rolling off of the upper top end, and a substantial amount of phase distortion in the subharmonic region. It can begin to subtley break up at very high input levels and gain, and it has a more rounded tone. So instead of being a 'glass box', as we intended our normal reamp to be, this unit adds flavor in some unique ways. Originally just made as a gift for the 2 aforementioned YouTube personalities, requests have come in for this box to the point that we had to make it a product. It utilizes a very different transformer that was likely never intended for this purpose, or to be configured in this way but which we discovered could provide some unique properties we liked for getting a slightly more rounded, thicker, guitar sound. The 'Ang'ReAmp is a slightly more colored, more aggressive, more edgy version of our standard 'mastering grade' ReAmp which is considered the most transparent ReAmp available, with the best rejection of outside noise and interference. Developed in cooperation with Ryan Earnhardt from Creative Sound Lab and Glenn Fricker from Spectre Media Group, and based on my earlier Re-Amp design, this new version of my Re-Amp features a very high end custom wound American made transformer and provides a whopping output potential of +10dB in normal use (a nearly 6dB step up from a balanced +4 line input source), high enough to drive any re-amping application.
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