I could also record Distressor on the original track. Once done, I can mix the two wet tracks to complete the work. Now, for example, I insert the Fuchs Train II set up with a clean sound I like. Then I connect the X-Amp's Hi-Z output to a Hi Z input on the Apollo. Unison plugins are always printed when inserted into the channel's Unison slot.Īfter the guitar track is recorded (one dry and one with a Unison plugin), I connect the line out from the dry track to the line in on the X-Amp. I can use a mic level Unison plugin here as well if I want, but then I lose a dry track for re-amping. 55 Fender, set up with a clean or crunch rhythm tone.Ī second output gives me a dry guitar track via a mic level XLR. For this example, let's say I insert the. That gives me the ability to insert a Unison amp sim. One of the splits is a true analog bypass, which leaves the signal from my guitar's magnetic pickups unaffected. When I track my guitar, I output my guitar's signal into a radial JDV MK3 DI. A bonus is that it works well for re-amping with Unison plugins (amp sims, pedal sims, Korg SDD-3000, Distressor, etc.), too. It works perfectly for Hi Z hardware pedals. Until UA adds these features, I use a Radial X-Amp. Think of this as a global Re-Mic mode, with any Unison plugin. This would also allow you to use an EQ and gate from one Unison plugin, and add a different Unison channel strip's compressor on the second channel. With Hi-Z, anyone could easily re-amp guitars with Unison plugins.Īnd with a Mic level output, you could put the Townsend or Ocean Way mic plugins on a track and then loop back into another mic input to put a Unison channel strip after the mic modeling plugin. I wish there was a Hi Z output and a Mic level output. cue Jimmy Page's use of the Echoplex's preamp before the actual amp )Ĭlick to expand.I agree with kennyg75. (this isn't to say that sometimes that distortion and noise isn't kind of cool and 'extra', hell you could even come up with a nice signature sound that people would be trying to figure out for years by fiddling around with the level staging before the effect. Distortion and noise with line level direct signal clean and clear after inserting a reamp box. I've also had this issue with the Strymon "Big Sky" and their "El Capistan". Going through a Reamp box solves the issue flat out, and it sounds like it should from the beginning. Catalinbread states that they have plenty of headroom and can handle straight out line-level, but that's ONLY TRUE if you access the inside 'preamp' and dial the gain back to its lowest level, and you'll still have some distortion/noise. One example that I can think of right off the top of my head is the Catalinbread Echorec. Click to expand.While that is true, mostly, I have always - always - always found that the noise floor is much better when you use a ReAmp box to go to outboard effects like pedals or tape delays / space echoes.
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