Once you have your original performance recorded, you can let the real fun begin. A Thru output feeds a guitar amp for monitoring or miked up recording. The active DI in the Reamp Station captures your instrument signal without coloration or distortion, providing the perfect template for future tweaking. Recording a clean, noise-free “dry” track is an essential step in studio Reamping. In addition to the XLR and balanced 1/4" TRS inputs for the Reamper, a 3.5 mm mini input is also included for easy connection to mobile devices such as smartphones and tablets to streamline playback and encourage additional creativity. The JCR features an American-made custom-wound transformer to convert the line-level signals from an audio interface so they are optimized to feed guitar pedals and amplifiers-while also including a level control, 3-position filter, and a mute switch to protect your ears when adjusting mic placement on a live amp. The Reamper side of the device takes the circuit from the Reamp JCR, originally designed by acclaimed engineer John Cuniberti, and ports it into a multi-use studio tool. Among these changes is a buffer switch, which engages a unity-gain Class-A buffer circuit on the Thru output, preventing any loading down of passive pickups when connected to an amplifier and preserving the natural tone of your instrument. The active DI portion of the Reamp Station is based off Radial’s world-class J48, tweaked slightly to provide maximum benefit for recording tracks that can be re-amped at a later time. That's not to say it might not be close enough for whatever you're trying to do, but since the question was sort of asked above, I thought I'd try to answer it.The Radial Engineering Reamp Station combines two studio essentials in one complete package: an active direct box for capturing pristine recordings of any instrument, and the JCR high-performance Reamper to feed your tracks to guitar pedals and amplifiers for re-recording, to take your mixes to another level. That's not going to be the real deal, though. It's possible that the commercial reamp boxes include some sort of "pickup sim" filter for this purpose. You can try to fix some of this with a filter somewhere after the "tape" and before the amp. I think that if the DI sounds good on its own, before re-amping, it's likely to come out a bit dark, possibly muddy, with some noticeable lack of detail after re-amping. It requires the failure of the amp/speaker/cabinet (itself a resonant low-pass filter) to make it sound acceptable. It's bright and edgy and kind of splatty. That signal generally sounds like complete ass by itself. Plugging a guitar into a high impedance load (~500k for many tube amps, up to 1M or so for modern amps/effects) creates a resonant low-pass filter. I talked about the whys and wherefores (redundant, I know) at some length on this thread. A standard passive DI will not accomplish this. If you're looking to get a reasonable approximation of the sound you would expect from plugging your guitar directly into your amp, you must present the pickups with an appropriate input impedance on the way to the recorder. This may sound obvious, but the question above re: upgrading the DIs brings us to this point. I will say that no matter how you intend to get the signal from recorder>amplifier the quality of the result will depend almost entirely upon the quality of the recorded signal. We've had that argument before, and I usually just throw up my hands saying "Fine, do what you want! It's your money!" I'm not going to touch the reamp box question.
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