How to Reamp Your Guitar | Recording Dojo

This well-established, simple technique opens up a new world of sonic possibilities.

[Originally published February 14, 2022]
Welcome to another Dojo! This time I’m going to show you how to reamp your guitar and explore some creative ways you can re-amps other tracks as well (soft synths, vocals, drums, etc.). In my earlier column “Why Guitarists Shouldn’t Diss DIs,” I mentioned the benefits of using a DI for creative recording. If you have a DI box, dust it off! You’ll need it when I show you how to get more out of your DI-recorded guitar and bass tracks by reamping them into your pedals and amps to capture new perspectives and even add some new reverberant spaces. Tighten up your belts, the Dojo is now open.

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Try breaking the signal-chain rules to create new—and dazzlingly retro—sounds for your recordings.

Years ago, while on a meditation retreat in the mountains of Ojai, California, I was reflecting on one of my favorite sayings by Shunryu Suzuki (from his book Zen Mind, Beginner’s Mind): “In the beginner’s mind there are many possibilities, but in the expert’s there are few.” It was early in the morning, and as the soft blue light of dawn broke over the snow-dusted mountain tops, I had the profound realization of just how narrowly I was choosing to live my life because of my habits and how I was continually and slavishly refining them through my actions. I allowed myself to imagine and feel what life would be like if I let go of ingrained beliefs, and stood squarely in the warm, bright light of new possibilities.

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A reverb tip from the playbook of legendary engineer Al Schmitt.

Hi everyone, and welcome to another Dojo. This time, I want to focus on the creative possibilities of using multiple reverb buses to spice up your tracks and mixes.

The first time I heard of this concept (many years ago) was through the legendary engineer Al Schmitt, who recorded Duke Ellington, Elvis Presley, Jefferson Airplane, George Benson, Toto, Steely Dan, Vince Gill, and Michael Jackson, to name a few. He also mixed well over 150 gold and platinum records. When he talked, people listened. Especially me. A couple of years ago, I was fortunate enough to spend four days filming him while he engineered and mixed an album from start to finish at Blackbird. Whenever he was waiting for some gear to get set up, or the band to arrive, I would express my deep appreciation for the records he engineered/produced and ask him questions. This article is based on part of one of those conversations. So, tighten up your belts. The Dojo is now open.

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Three steps to exploring the wonders of tempo shifting.

Hello and welcome back to another Dojo. This time I’m going to be talking about the joy of using varispeed in your tracking productions to give your music a different timbral shift and open you up to some very creative possibilities.

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