Developed in cooperation with Ryan Earnhardt from Creative Sound Lab and Glenn Fricker from Spectre Media Group, and based on my earlier Re-Amp design, this new version of my Re-Amp features a very high end custom wound American made transformer and provides a whopping output potential of +10dB in normal use (a nearly 6dB step up from a balanced +4 line input source), high enough to drive any re-amping application.   The 'Ang'ReAmp is a slightly more colored, more aggressive, more edgy version of our standard 'mastering grade' ReAmp which is considered the most transparent ReAmp available, with the best rejection of outside noise and interference.  This ReAmp is a different story.  It utilizes a very different transformer that was likely never intended for this purpose, or to be configured in this way; but which we discovered could provide some unique properties we liked for getting a slightly more rounded, thicker, guitar sound.  Originally just made as a gift for the 2 aforementioned YouTube personalities, requests have come in for this box to the point that we had to make it a product.  So instead of being a 'glass box', as we intended our normal reamp to be, this unit adds flavor in some unique ways.  It can begin to subtley break up at very high input levels and gain, and it has a more rounded tone.  There is a very slight rolling off of the upper top end, and a substantial amount of phase distortion in the subharmonic region.  What this does is not directly inaudible on guitar (no guitar note or guitar amp or guitar speaker cones hits 25hz), but the effect is the type of finely tuned phase distortion that occurs from using the 'boost/cut' trick on a Pultec at the lowest bass setting (which is a secret weapon for guitar tracking, believe it or not).  This box sort of bakes that in, and so what you hear (psycho-acoustically) is a thicker, more intense rounding of the lower mids.  It can make a thinner DI (due to cheap DI or cheap pickups) sound chunkier and fuller, and add a bit or weight and gnarliness to overly sterile guitars.  These effects are usually subtle; but quite audible when compared to our standard (transparent) DI.  In the end, this is a great alternative or second ReAmp to use, and if you do indie rock or alternative, it may be a great first choice.  Also if you have older sessions with poorer DI tracks that need to be re-amped, this can help inject a little more energy and weight into those tracks. 


Each of these reamps are personally hand-wired and built by me; and are sweep-tested for phase, THD, level, and frequency response.  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.  Your tracks are too important to risk with anything less.


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.  DI tracks need headroom in the DAW 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.  This means that, in practice, a captured DI in your DAW is not for the most part a '+4 signal', whether it is by technicality or not.  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 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.  Just about every reamping box I've seen on the market follows this approach and has a maximum output lower than its input.  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 quality custom transformer.  


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.  Also unlike some designs, this design does not pinch the sound bandwidth due to cheaper transformers or 'voice the signal for guitar', etc, etc.  It is as transparent as the purest piece of glass.  In fact, I don't even like to call this a 'guitar reamp', because it will re-amp anything.  I have used the re-amp technique to process voice, snare drum, kick drum, other percussion, and almost always bass guitar.  You will find this an indispensible problem solver in your studio.  Another great feature of my design is what I call 'true' ground isolation.  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.  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.  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.  This can cause ground loops, audible as the ever pervasive buzz and hum you find in so many setups.  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.  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.  In general though, you will find this box as compatible, clean, and clear as any ReAmp ever put on the market.  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-made transformer, and is wired up by me, by hand, using a custom made thick powder coated aluminum enclosure built in the USA by Collective Cases.  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.

Signal Art 'Ang'ReAmp

  • I try to keep at least one of these on hand to ship; but in the event that I'm out of stock, I will make these to fulfill orders as needed.   If you order one and I am out, I can make the device and ship within 2 weeks of placing the order.  I will always notify you if this is the case, and you can feel free to inquire ahead of time.  Thank you for your understanding.  

  • If you don't love this re-amp, you can return it within 10 days of purchase and it will be refunded, minus shipping, as long as the unit is in flawless (re-sellable) condition.