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The Art of Re-Amping

teacher avatar HF Tracks

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (32m)
    • 1. Intro To Re Amping

    • 2. What is Re Amping?

    • 3. Re Amping From Home

    • 4. Using Pedals Like Plug Ins

    • 5. Re Amping The "Right" Way

    • 6. Re Amping Pedals Like The Pros

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About This Class

Have you ever felt limited by the saturation and modulation plugins in the box while also having a rocking guitar amp and killer pedals? Then you should try Re-Amping!

Join producer and engineer Robert Rodriguez Del Toro on a crash course in the art of Re-Amping and access the real analog equipment you've always had in your home studio. This course breaks down the signal flow so that whether you're in a project studio or professional facility, you can understand the basics of this underrated studio technique.

This course will demonstrate Re-amping with amplifiers and pedals using both Pro Tools (2020.12) and Logic Pro X. Enjoy!

Meet Your Teacher

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HF Tracks


Hello, my name is Robert Rodriguez and I am an engineer, producer, and composer from the Los Angeles area. I'm here to give you quality content and share the knowledge I've gained over the years with you so that you can become the music professional you want to be! Enjoy! :)

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1. Intro To Re Amping: Hey everyone, this is Robert. And over the next few videos, I want to talk about ramping. We'll start by going through the process in a simple home studio setting like the one I'm in right now. And then we'll move over to a more professional setting and demonstrate how it works over there. Now before we get started, we have to know what is ramping. Plus simply put, it's the process of taking an already recorded signal and running that signal through an amp or any other effects and rerecording that newly affected signal. If that sounds confusing, we'll go through it really meticulously over the next few videos, and it'll all be cleared up. Now the two main applications which we'll go over in this course are with a DI guitar. So sometimes you record a DI signal either for safety or that's the only signal you recorded, meaning you plugged directly into your interface. And the tones just aren't cutting it or you already met to want to affect it in some sort of way. Now with ramping, We can do that. Take that signal hope from the interface and run it into a guitar amp or whatever we want to run it into and rerecord it back into our interface, we can rerecord that affected signal. Now the second application would be for effects, particularly we'll be looking at effects pedals like this. Sure that stock Horus does the job and nothing is more fun and sonically pleasing than getting real analog circuit in your mix. Finally, I want to get into this course by a being some examples to get you pumped for what we're going to be exploring throughout this course. Thanks for watching, and I'll see you guys in the next video. Bye. 2. What is Re Amping?: All right, so here we are in Pro Tools and we're just going to demonstrate a classic ramp situation. So we recorded it and amp the day of the session in this case. And we didn't like the amp tone. And we kind of always knew that we wanted to redo it in a more controlled setting because the band was playing in a room together. Now, with ramps situation because we also recorded a DI signal, meaning, you know, directly clean or AMD processing happening. Because we did that. We're able to take that signal and rerecord it. So here's the sound of the DI. And now here's the ramped. Now switch back and forth. So as you can see, still a clean tone, but it just sounds a little more open and real because we've taken it from going directly into something that's meant to be super clean and clinical. Two then into something like a guitar amp. In this case, we use the tube AMP, which breaks up and it sounds a little sweeter even without, you know, audible distortion. So now for this example, we had a sort of fusion jazz sort of track with the saxophone soloing. And towards the end of the song, I wanted the sacks to kind of take off and ascend and sound kinda wild and crazy. Because that's just what the performance felt like and it was just a good climax from natural. So in this case, we're ramping a saxophone using affects petals and we used to delay pedal. So first let me show you the clean signal. As are cooled at sounding good. I went ahead and added in like an octave effect using plugins. But still not enough, it's still not unhinged enough. So I went ahead and took out an analogue delay pedal and manually turned the time knob to get the pitch to start warbling going kinda crazy. And I did it twice because it's a mono pedal, but it's, so it's not going to be a stereo effect. So what I did is I did it once for the left side and again for the right side and just recorded both signals. So here's what that sounds like. Here's the effect by itself. So that's an example of what just a simple ramp of a guitar into guitar amp sounds like. And an example of what happens when we get a lot more experimental and have a little more fun with it. And I just can't wait to show you guys how it all goes down, how it, how you can make it happen in a home studio setting or in a professional setting really, there are no limitations and it's just a great way to sound unique. I'll catch you guys in the next video. 3. Re Amping From Home: Hey everyone, today is ramped Day and we're ramping from home. That means we're going to be taking our D. I recorded a guitar signal. We're going to be running it out of our interface into a guitar amp and a rerecording it back into our DAW. So let's break down the signal flow of that so we can get a better handle on what's going on in order to ramp. We will be starting and ending back up in our DAW. Today will be using Pro Tools, but really any DAW, same concept, same kind of flow. So we're going to be using a send in Pro Tools to direct our signal that we want to ramp physically out of our interface. So we're gonna be using send out three in this case on a Barringer UMC 1820. So we want to be sending out of our interface. It's going to be coming out of the interface at line level. Now here's a good time to talk about impedance levels. The most important aspect of ramping is impedance. What is impedance? Well, to make it brief, we have two different types. Essentially we have low impedance, low Z, and we have high impedance. High impedance is instrument level. It's what our amps, what are guitars output, what are petals take and output. And we can think of it in terms of it being sensitive to hot signal. Now, low impedance sends out hot signal. Now there is a point of contention because in interface typically outputs line level signal. That means what's coming out of our Barringer is low Z, low impedance. So what do we do to convert that signal so that it's not too hot for our AMP or whatever we're running it into. We use a ramp box. Now. We are going to be using an extra DIY rent box because hey, the industry standard 3M box is still a $100. And if you're not in the market for a $100 piece of equipment, but you still want to try this kind of experiment from home. You're not completely out of luck if you have a boss pedal. So we can use any boss pedal for this kind of application. Because as long as it's off, what happens is that it takes our low impedance line level signal and through the use of a buffer inside of here, inside the circuitry, converts that low impedance or whatever level signal and converts it into high impedance. It converts it into instrument level so that it's set up proper for an amp, for another petal. However, we want to use it setup right, for instrument level. So to take the DIY spirit even further, we're going to be using an RCA to eighth inch cable and be using adapters to get what we need. So we have this adapter here, TRS on one end, which is exactly what we need to come out of our interface. And it's going to end up as a Y cable. This kind of stereo cable. We only need one end of it. Because we're taking a mono signal, we're going into a mono source and it's going to come out of a microphone eventually, and we're going to record it. So we're going to take descend from the interface. This end will go into our boss petal. And then we're going to take a regular instrument cable, run it into our amp, record that AMP using a microphone and recorded it back into our DAW. So let's bring it over to Pro Tools. Alright, so now we're in Pro Tools. We recorded a DI guitar. I just did a quick little funky bluesy kind of thing. And we are going to take that DI recorded signal, meaning we plugged directly into our interface and just recorded that signal. And we're going to ramp it in the way that I diagrammed out and record that ramp. So we use the fender Excelsior and amp. Nice little 2m from fender. We might dig it up and we got a more suitable, better clean tone than what we started with. So let's hear the DI signal and then I'll walk through the internal Pro Tools. Routing. Cool. So nothing wrong with that tone is just clean. It's pretty boring, sterile, but that's kinda the point of a DI signal. You want the most honest signal path there is. So from here we want to 3M. So how do we do that? We are going to use our physical outputs. So what I did essentially was I went to the send section and instead of going to bus like we normally would, I went to output three. Now you could do bus, go into an auxiliary track and that auxiliary track and go to output whatever. But a shortcut way and a way that works perfectly fine for me is just straight up, go into the desired output and adjusting the level from there. Now an output three, I set it to pre-fader. So that way I could mute this DI guitar if I wanted to or just a level higher I wanted. And I won't affect the signal coming out. And I went ahead and brought up the fader very carefully. So it doesn't really take a lot of signal for it to overload even with this buffer in place, even with the way we did it. So well, we're gonna do, is we're going to set it up like this. Now we create a new audio track. So again, to create an audio track, we'd go Shift Command N. We'd created a mono audio track. I renamed it ramp, and I made the input one because that happens to be what we plugged our microphone into. I went ahead and hit monitor. I also arm for recording and aren't punch right there or just hit three. And you'll go ahead and record your Orient signal. So this is what the ramp signal sounds like. Switch back and forth. So there you have it. That's the difference between a DI sound and then being able to, if you put it through an amp and kinda processes it however you want from there. Now I could have put petals in front of it and done other kinda Mike techniques. I could have driven the AMP more, but this is just a general how to on revamping your guitar and getting those real amp tones when he started from just a DI signal. Thank you for watching and I'll see you guys on the next one. 4. Using Pedals Like Plug Ins: Hey everyone. So now we are going to get two revamping in another way. This time we're going to be taking the angle of not rerecording a guitar, but instead layering a real analogue effect instead of using a plug-in. So in this example, we're going to be taking a synth that I recorded in the box. So I used a virtual instruments sinth, and I just laid it down and then I printed it and split it to mono. So we just have this mono synths right here, and this is what it sounds like. So as you can hear, nice little pad since nothing special. Now, it's my ears. I would want to add something like course now I do have plugins and I've got, you know, sound toys and we got the new arteriole Juno chorus. But how about we try an actual chorus pedal? So be a real analog circuit. We can turn knobs as we're using it to whatever we want and make it work. Now in terms of IO setup and in terms of how we wire things up in the studio, we're not gonna do anything different because all that's changed is that instead of going out from our buffer pedal and going into an amplifier, we are just going into another pedal, pedal that we want to use for effect. From that pedal, We are going to go into the interface. Now one of the main differences between ramping and the standard way and then doing this kind of affects thing kinda using it like a plugin is that instead of using a send, ideally, we'd want to open up an insert and go to the I0 and use one of these inserts here. However, my interface isn't configured to do that. And unless your interface has built-in inserts, hasn't on the back it says insert one, answer to insert three, so on. You're not really going to be able to utilize that in ProTools. Now in logic, it's a different story. We have the IO plug-in where you can customize what your input is and what your output is. So when we get to the logic section of this where we're going through it in a more professional studio, will definitely go through that. But for now, we're going to keep doing it the old-fashioned way, the way we started. So for this, we're gonna use send that. We're gonna use outputs three, just like we did last time. Manager level coming out. As you can see, it has already been recorded. And we recorded on input, interface input to, because I'm using the mike right now. And we got our chorus affect its signals. So let's listen to the course now. Listen for the way I kinda manipulate the sound of it as I go to that's all being printed to my mix, to my project. There's no way to change that. That's permanent. Of course, we can do the same thing by using a midi controller and mapping or controls and writing an automation. But There's just sometimes that magic and it's just a lot of fun when you know that you're holding the thing that is making that sound. So let's hear what that core sounds like. So sounds great. One of the not necessarily drawbacks with just something that will be different about this is that in this case, and in a lot of cases of a lot of petals, This is not a stereo output, so we're not getting a stereo sound. Some courses and newer Ba scores is this happens to be an older boss chorus. Do have two outputs, in which case we would be able to record, you know, input 12 and get a stereo returned. And that's all well and good. But I'm going to also show a little workaround and a way that I still got a stereo chorus Sound and even incorporate the original sent up here. And it's by doing this, I went ahead and put on a delay. I'm going to use waves HLA, but any delay will do. And I'm going to select Mono to stereo when I, when I pull it up. So i'm gonna bring that down. So just kinda slap back delay. Let's go 132nd faster than a slap back. Return the feedback all the way down or at least most of the way down. And I'm going to turn on ping-pong so that we actually get some differentiation in each ear. And this is what that sounds like. Now I'm gonna go ahead and bring in the original sent as well with it. And this is all of those elements put together. So to wrap that up, we went from this as a starting point to now making it expand and grow and feel so much more alive with this course. Well, thank you guys for watching. Hope you enjoyed it. We're going to be going now into a more professional studio and doing it the quote unquote, right way with an actual ramp box. And we're gonna compare the differences between how we did it here in a DIY kinda setting and how we do it in a professional setting. Hope you guys enjoyed. See you guys on the next video. 5. Re Amping The "Right" Way: Everyone. So now we've gone from the home studio into the more professional hybrid studio. And we're gonna go through ramping in this kind of setting. So now instead of using a very DIY, you know, uncommon technique with the pedal, We are going to use an actual RAM box. And today we're using the ramp x T C ramp box. And I just want to start this video off by breaking down the signal flow once again in kind of a more hands-on setting. When we turn it over to logic, we are going to be using UAT Apollo, we're going to incorporate a patch bay, but really, it's all as simple as this at its core. So let's break it down. So on the back of our interface, you will see some outputs. So right here we have a line output and we're gonna use whole line output is three in this case. And we're gonna go into our 3m bucks. Now again, our ramp box is converting a line level signal into a signal that's safe enough to put into something like a guitar pedal or into an amplifier like this Kemper. So we're gonna go into the input back here. And then from here, we're going to take our instrument cable, because now we've converted it, now that it's entered this box, we've converted that signal. And so now we can take irregular instrument cable and put it. In this case, we're gonna use the send on the back of the box. So as you can see, the back of this box, there's send. And so we're gonna plug into that. And now that we have this cable, this now becomes our path to any instrument level box we want. So we got a boss super course, for example, we can pretend that this is a big amplifier or we have a camper right here. We can plug right into that Kemper. And from our Kemper, we can decide where we put our audio in r dot. And that's essentially how ramping works with this box. Now another option and what we'll do in the video after this is that we can use the back of this fox as an effects loop. So we can send into any number of petals and on the last petal, return back in or receive. And then if we look at the front of this, we can engage the loop that we're using and mix between the dry and wet. Additionally, and what we use the send for in general, we can give it more signal and attenuate the signal as needed so that we're not distorting or going back into our DAW. In this case, we're gonna be using logic. So let's go ahead and flip over there, guys. So now we are in the DAW, we're in logic, and we have this DI guitar signal that sounds like this. Let's hear it. Alright, as you can hear, cool, fine, clean, but it obviously sounds like it's supposed to be distorted. Now realistically, chances are we had something like this go and we recorded DI, in logic. We're doing a rock track, you know, demoing something out. And we probably used the stock logic amp designer and we got some tone like this. Nothing wrong with that tone. But let's say we want to just get something more pros sounding. Really just be able to maybe play with something different, have a variety to choose from. We have a d I recorded signal. And how do we get that signal out of our interface? And into something like a camper that we have over here. We have a really nice app modeler. How do we get that out? We're going to come out of our interface. We're going to run into the 3M box and use the Send to go directly in to the Kemper or any app that we might be using. So let's break down how that works in the DAW. Particularly, let's go through how that works in logic. I talked about on Pro Tools, we had inserts, but we were kind of limited in how we can route those inserts. So it didn't really work unless you actually had an insert send and return on the back of your interface. Which if that sounds complicated, kinda is most consumer grade interfaces rarely have send in return, insert sections and things like that. So you're kind of limited when it comes to that customization as far as that goes is not so simple to figure out. But in logic, we have something called the IO plugin, which actually works the same as an insert, but with a key difference that you can choose whatever output you want. And you can choose whatever input path you want. And it stays on the insert section. Meaning now you don't have to use a send to come out and record that sent back in. We have a much more streamline sophisticated way of doing it. So here we have output five. And if we look at our patch bay, output five is normal, which means hard wired. And patch bays speak to the input of our FCC are 3M box. Now from the 3M parks were coming out and plug in right into that Kemper. Where does that camper go? Back camper on our patch bay is also normal hardwired to input three on our patch bay. So if we set it to output file and input three on our IO in this case, this will always be different for whatever you're using it for. You just gotta pay attention to what you're plugging into. But if we do that, we should be able to hear our DEI guitar signal going through the camper AND coming back out. So let's listen to that. And how can we create a huge, huge difference right there? Now, that is definitely why we use a 3M box. It turns something that sounds like this and may have been recorded sounding like this. Meaning we, we demoed it this way with this plugin. But we ultimately want to get it to sound something more like this. Now, in conclusion, there is nothing really wrong with using your amp Sims and doing a self in the box. I mean, in a way, the ampere using today is kind of like an MCM on steroids. You know, it's just a really, really good modelling plug-in, but in physical form and we got all this flexibility with it. The point of this though, is not to knock something like this. A rather to show you that if you want to use the real thing, if you want to come out and really turn some knobs, that technology is there for you and we have that there for you. Whether you're using a $100 3M box, whether you using your DIY bass pedal, kinda hacking it sort of way, or you're using something like the radial x TC, you can achieve those protons. You can have the flexibility to play around the way you want to. Thank you guys for watching and we'll catch you guys in the next one by. 6. Re Amping Pedals Like The Pros: Hey everyone. So we've finally reached the end of our ramp journey. So we've gone from ramping at home using the conventional method of running our DEI signal into an amp and recording that back in. And we've also done it with pedals where we went ahead and ran whatever we wanted into a guitar pedal, kinda played with the settings and printed that on. And then we moved over to the studio and demonstrated the same thing using a camper. And today we're going to wrap it up by using my favorite feature of the radial SDC. And that is the loop features. So let's break down what that means. Bring audio into the back of the radial and we can activate these loops. Now, what that means is that on the back, there are some more inputs on the back of that box that allow you to run petals into the box before going back out into whatever input you want to. So what we're using it for is we're gonna go and use loop a send, come out of there, run it into a paddle. And we're gonna come back in and run back into the box. And another great thing about that feature, so we also have a dry wet enough so we can really fine tune the tones that we want to get. So bringing it over to the DAR, now, we have a couple of stock loops from logic. We have this rhythm guitar loop, and then we have this drum loop here. We're gonna go ahead and just kind of show of how this is going to work. So first off, we wanna make sure we're good as far as our I0 in the box. So let's take a look at that. So we have the IO plug-in here and we have a preset for our ramping. So we're doing pedals ramp. And let's go ahead and hear how this sounds just dry just to get an idea of what this loop sounds like. Kuh, this is simple guitar loop. We're gonna go extreme. Just throw a fuzz on it, is to kind of show off what is happening here in a more clear, easily here way. Now, over on the ramp box itself, you have to go ahead and make sure that our settings are set correctly. So I'm gonna go ahead and move over to the box itself. So now let's go ahead and show off what this sounds like. So I'm gonna go ahead and go over the pedal and turn it on about halfway through this loop. And just kind of give you a nice before and after. So pretty intense, right? They're pretty extreme settings probably not well, we'd use realistically. But again, like I said, there is a dry wet knob. So let's kinda show off how back in, back in kind of real in a really extreme town. I'm gonna go ahead and do the same loop. And I'm gonna just from, from wet to dry kinda go in the middle. So you can get an idea of how that sounds like. Let's go with that. So there you go. Now you can kind of find a happy medium if you wanted to, more than anything, this is to demonstrate what a ramp kinda using these petals sounds like and just the most clear way possible. So now let's do it with some drums. So I'm gonna go ahead and pull up this drum loop. Let's go ahead and mute that. Alright, so here is that drum loop. Now this is what it sounds like, dry. So let's, let's take a listen to it. So cool drum loop. One of my favorite things about ramping with petals is that when you run drums through fuzz petals, it can just get really gnarly, really fast. That's just a lot of fun to play with. So we're gonna go ahead and do the same kind of Dry Wet transformation. And kinda me in a really nice sweet spot where we have just the right amount of fuzz going with this drum loop. So let's go ahead and do that. Well, we have reached the end of our 3m journey. Ok, you guys got something out of a Hopi, took something of value from this course. And I'll see you guys later. Thank you for watching. Goodbye.