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→Example Use Cases
* You want to make a tone demo comparing several amps and/or effects. You want the playing to be 100% identical to minimize any perceived differences being attributed to inconsistent performances. You record one take with a dry signal and re-amp it for each demo clip, eliminating any possible performance variation.
* You have an artist whose part you want to record, but he is on a very tight schedule. You can get him in the studio, quickly set up a rig for him, and get him recording with a rudimentary tone. He records his part and leaves. Or he records his part elsewhere using his own gear without worrying about mic'ing his amp and sends you the DI track. You can then re-amp his playing for as long as you need to find the ideal tone, without requiring him to be physically present.
* You are trying to record a very difficult piece/part that is beyond your ability, or that has very, very sensitive subtleties that takes several takes to achieve. Splicing together different sections of each take is easier to make sound seamless from the DI's rather than a compressed and noisy distorted amp sound. Once you've Frankenstein'ed the DI takes into a perfect-sounding track, you can reamp it to get what sounds like an amazing performance that hasn't been pieced together.
== Required Hardware ==
=== Walkthrough ===
# DAW track 1 has a recorded DI track. Its output is set to Line Out or SPDIF Out. It is unmuted, but has direct software monitoring disabled.
# The interface's Line Out or SPDIF Out is connected to the appropriate input on the amp or modeler. The amp/modeler has all switches set up to allow that input to function.
# Pressing play in the DAW should generate output from the amp/modeler. This can be heard from the cab attached to the amp or headphones plugged directly into the modeler.
== Tips ==
* Set Outputs 1/2 on your interface to your monitors - this is usually what is assumed by the manufacturer, and the interface's control panel software usually defaults all direct monitoring to route to these outputs. Using output 3 or greater for sending the DI track to your amp ensures that you don't accidentally get a feedback loop due to direct monitoring.
* Don't keep switching back and forth between tracking DI's and reamping. There are often hardware or software changes that need to be performed when switching back and forth, and this can make the process tiresome. Record all your DI's, then do all your reamping.
* Verify your DI tracks are good before starting to reamp them. This is best done by recording a parallel wet track while recording DI's and using these wet tracks to verify the quality of the performance. Listening to raw guitar (DI) can be difficult to determine whether a take was good or bad.