Jensen reamp box schematic12/19/2023 ![]() ![]() CAPI has a great little DB25 pcb that made the wiring for inside the box a breeze (thanks The Reamp is standard Jensen schematic, and the DI’s follow the Cinemag schematic. I also made a DB25 to male XLR snake so I can disconnect the box from the rack and use it in the studio. The 4 Reamp ins and 4 passive DI outs connect to a DB25 that I ran to my patchbay, along with two XLR’s for the Bo’s. Since I had two extra Bo Hansen DI pcb’s (thanks Volker!) I added those to it, as well. I recently discovered a couple of old Jensen JE-11P’s while reorganizing all of my parts, ordered two more JT-11P’s, and decided to redo it in a box that can be used in the control room or out in the studio. The Cinemag DI’s sounded great though, so I also regretted making it a permanent control room rack fixture when there were times I could’ve used the extra DI’s in the studio while tracking. I was new to DIY at the time, and never liked how my Reamp turned out (wrong transformer ratio choice on my end, and some other mistakes), and I didn’t add an impedance control. when I’m mixing, but I hate clutter and didn’t want a bunch of individual boxes all over my rack. But I will have to test further to confirm.About 10 years ago I built a 4-channel Reamp and 4-channel DI in a rack chassis for my control room, because like many others I like to send things out to amps, pedals, Leslie, etc. I think it is possible that the hiss on test 3 might be coming from the AC power that the amp was plugged into. ![]() I know because I used a couple of casual listeners to help me listen back to these tests. Again, a casual listener would have to be told what to listen for before they noticed it. The biting high-end edge was back that was lost in test 2, but the hiss was really bugging my. ![]() Test 3: Surprisingly, the tone was pretty much exact to the audio from test 1, except there is a type of "hiss" similar to white noise present in the track. But most casual listeners would not notice, but I noticed, and anyone who is in audio recording would notice. There was definately less of an edge on this one. It had bite, depth, and everything that I heard coming from the amp while listening in the room. I recorded the same guitar riff to a metronome in tests 1 and 2, of course text 3 was the exact same performance as test 2. Test 3: I took the direct clean guitar that was recorded from test 2, ran it out to my ReAmp Box, and back into the Peavey XXX. ![]() But the mics and cab were all the same and in the same spot etc. Of course there was also a mic cable going from the Radial J48 into a pre-amp in my system so I could record the direct guitar signal. So the chain was Guitar to Radial J48 to Peavey XXX. Test 2: Same as above but with a Radial J48 Active Direct Box in the chain. The chain was.guitar to Peavey XXX, miced up with a pair of Shure SM57's (in Phase) on a Celestian Vintage 30 inside a 2X12 Genz Benz cab. Test 1: The guitar plugged directly to the amp with nothing in-between. I wanted to know if and how the guitar tone was affected or how it was changed (if at all) by re-amping. I have more in depth info, but to quickly post my most important findings. I have done some testing on everything involved with re-amping back to areal amp. As mentioned above the real trick is to match your impedence of the DI track that is being outputed from your system to the amp. The key thing again was to drastically reduce the level of the output from line level down to something reasonable. When I used to do the same thing using amps I never found the need to worry about the impedance presented to the amp by the interface - any fx in the run will alter the impedance seen by the amp from that of the guitar and generally speaking most guitarists don't find that much of a problem. No need to match the interface's output impedance with the sansamp as they handle it fine, just reduce the level coming out of the interface until the gain sounds sensible. If I don't like it I just run the "clean" signal through the same sansamp set differently or to the other one. The sansamp then goes to another interface input and I record both. Guitar goes to all (analogue) fx then a DI box with the direct out feeding the sansamp and the XLR feeding a mic input. I still use the record the amp+the "clean" guitar as my usual way of working, only I use sansamps, character series Blonde and Leeds (I can't use a real amp at "meaningful" volume without more than upsetting the neighbours). ![]()
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