The basic concept of a DI is rather simple - itвЂ™s a box designed to convert a high-Z (high impedance) signal to a low-Z (low impedance) signal. All internal components are grounded and mated to a dual layer Faraday shield build within the enclosure, which, in addition to the mu metal can of the transformer itself, provides an additional layer of shielding for the absolute lowest noise, buzz, hum, or interference possible.The term вЂњdirect box,вЂќ or DI, is short for direct injection box. I didn't skimp on parts just to save money because I could get away with it this ReAmp uses a very expensive custom, American-madeВ transformer, and is wired up by me, by hand, using a custom made thick powder coated aluminum enclosure built in the USA byВ Collective Cases. In general though, you will find this box as compatible, clean, and clear as any ReAmp ever put on the market. If there is already buzz or hum within the audio signal from another cause, then of course you have to resort to more drastic means such as hum-eliminator type devices. The switch, in many cases at least, will alleviate this issue at least if the ground loop is being caused by this particular bridge between the control room and amp room setups.

This can cause ground loops, audible as the ever pervasive buzz and hum you find in so many setups. However, in many places, the guitar amps/cabinets are located in a different room from the control room system where the signal originates, meaning it is on a different outlet and breaker, with a different length path to ground. Why is this important? In an ideal situation, it wouldn't matter and likely most customers will have a decent enough system that they hear no difference with the switch. Many boxes don't do this but on this design, if you flip the ground lift switch you will absolutely isolate the instrument output from the source/pin1/earth ground and chassis of this device.

Another great feature of my design is what I call 'true' ground isolation. You will find this an indispensible problem solver in your studio. I have used the re-amp technique to process voice, snare drum, kick drum, other percussion, and almost always bass guitar. In fact, I don't even like to call this a 'guitar reamp', because it will re-amp anything. It is as transparent as the purest piece of glass. Also unlike some designs, this design does not pinch the sound bandwidth due to cheaper transformers or 'voice the signal for guitar', etc, etc. Unlike some other boxes that are noisy/electronic and highly lossy and filtered or anemic, this design is all passive doing all of its 'magic' within the custom transformer and audiphile grade attenuator pot. I believe we are the first to do one with a +6 output, certainly the first passive box to do so thanks to an amazingly good qualityВ custom transformer. Just about every reamping box I've seen on the market follows this approach and has a maximum output lower than its input. This explains why, in my studio experience many years prior, I saw engineers using a 10dB guitar 'boost' pedal as a follower to the original (John Cuniberti) ReAmp box. Coming out of the DAW into a channel of your interface, it may well need makeup gain to drive some amplifiers well, despite popular belief. This means that, in practice, a captured DI in your DAW is not for the most part a '+4В signal', whether it is by technicality or not. DI tracks need headroom in the DAWВ 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.

The Signal Art ReAmp has been used and praised by a number of noteworthy engineers, artists, and influencers, including Ryan Earnhardt (Creative Sound Lab) and James Murphy (freelance producer, mixer, and mastering engineer, as well as legendary guitarist).Д®ach of these reamps are personally hand-wired and built by me В and are sweep-tested for phase, THD, level, and frequency response. Developed in cooperation with Glenn Fricker from Spectre Media Group and based on my earlier Re-Amp design, this new version of my Re-AmpВ features a very high end custom wound American made transformer and provides a whoppingВ output potential of +10dB in normal useВ (a nearly 6dB step up from aВ balanced +4 line input source), high enough to drive any re-amping application.

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