by Kacey Y » Thu Feb 22, 2018 10:26 am
I think it's fine as a safety or great for expanding tones/sound when you've got a live room recording that you want to keep under control and do some overdubs with later. I don't like it as a go-to recording technique for guitar tones, because you can't get any room interaction (feedback, feel of the amp as you're playing), it can get fiddly with pedals (but that can be pretty easily resolved, usually) and more importantly to me, it tends to lead to a very bland approach to recording, where there's no vision or choices made ahead of time and everything can just be endlessly fiddled with later. Those sorts of projects can come out technically very polished, but I usually don't get excited by them. It works better for certain tones and styles of music than others. One of the technical benefits to it is being able to edit the performance before it goes to pedals/amps. Which I prefer not to do, but it is a convenience if necessary and available.
If it's a practical issue for someone and reamping is the best way they can really record, I think that's fantastic and should be utilized to its fullest and most creative extent. If it's a safety net to make creative decisions later and not really be bold or decisive upfront, I don't like it.
I've reamped snares, that's fun. I've recorded a very straight forward but nice bass track live, with a DI, then reamped the DI track into a distorted amp for character. I've used reamping to get room ambience on close mic recorded tracks and I've reamped normally recorded tracks through clean amps/monitors for the same purpose before (although now I typically just use a nice IR based reverb send for that) or to get some dirt and or room sound on a vocal. There's some creative uses of reamping that can be very fun and interesting.
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