With so many facilities on board, the Reamp Station has I/O and controls on the rear panel as well as the front. A three‑position filter (flat, top cut or low cut) affects the reamp tone, and there’s a mute switch. The reamping section uses the same circuity as the Reamp JCR, and features a custom‑wound, US‑built transformer to convert line‑level signals into a suitable feed for guitar amps and pedals, and since this circuit is passive, you don’t need phantom power when it’s being used on its own, without the DI. The active DI section is powered via phantom power, and it’s based on a slightly modified version of Radial’s well‑established J48 circuit. It’s a fairly busy box in terms of controls and connectors, so both the front and rear panels host these. There’s also an optional SA‑series rackmounting kit available. The Reamp Station has a very typical Radial style of construction, being made from heavy‑gauge folded steel, with a rubber foam‑padded base. The other, the Reamp HP, is smaller and intended primarily as a way to interface headphone output signals with guitar amps (more on that one in the box).
One, the Reamp Station, terminates two ornithological entities utilising a single igneous projectile by putting both a reamp unit and an active DI in a single box - it’s not dissimilar in concept to their EXTC, though the latter caters for two channels and this just one. Recently, though, they’ve added a couple more reampers to their range. They’ve already produced a number of reamping devices, in various form factors, and they’ve even registered the word Reamp as a trademark. Radial have long been one of the biggest players when it comes to DI boxes, reampers and other such problem‑solving gadgets, and with good reason: they’ve always combined excellent circuit design with seriously heavy‑duty construction to create robust, high‑performance devices.
There’s another practical application of a reamping setup, though, and that’s to allow pedals that have been designed for guitar to be used as outboard studio gear: just put the reamp box before the pedal and the DI box after it, and your stompbox delay or reverb (or whatever) can be used just like your studio gear when you’re mixing. That clean signal can then be replayed via the reamping box to feed a miked guitar amplifier - this allows the engineer to try different amplifier setups and mic techniques after the recording has been made. The practical advantage of using DI and reamp boxes together is that a clean guitar signal can be recorded via the DI box, even though the player may be listening to the sound of an amplifier fed from a thru connector. A reamp box is used for signals headed in the opposite direction: it can fool a guitar amp into thinking it is being fed from a guitar, by converting a mic or line‑level signal to a an unbalanced signal that has a more guitar‑like level and a suitable source impedance. A suitable DI box can fool a guitar into thinking that it is connected to a typical guitar amp by presenting it with a suitable high‑impedance input, and can pass a balanced mic‑level signal on to a mic preamp (such as on a console or audio interface). This means some ‘trickery’ is required when interfacing guitars and amplifiers with studio equipment that’s designed to work with conventional mic‑ or line‑level signals - and that, of course, is where reamping and DI boxes come in. Similarly, electric guitar amplifiers need to see a guitar‑like level and source impedance to sound their best. Ever wanted to run already recorded signals through a guitar amp or stompbox? One of these boxes could be all you need.Įlectric guitars and basses fitted with passive pickup systems can be very fussy devices, particularly when it comes to the circuity they are plugged into.
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