Earlier this week, Jeremy shared a video showing how he records multiple tracks in Pro Tools to keep things organized and make sure the DI is paired with the amp tracks. This method completely changed how I’ll use the Axe FX from now on. With a few adjustments, I’ve figured out how to record a part and edit the DI (and prep for re-amping) with a single track using Cubase—no need for multiple tracks or complex groupings.
In Cubase, create an LRC track via Audio Connections and specify the inputs as follows:
Left = IN 1 [Out 1 Block L]
Right = IN 2 [Out 1 Block R]
Center = IN 5 [In 1 Instr]
Next, create an LRC track (NOT a Stereo track!) and use the created Bus for the audio input.
Then, record a take and experience the glory that is LRC!
Now, you can easily activate any channel by double-clicking where the pan knob usually is in the mixer to open MixConvert. Set both the Center and Side channels to 0dB, then use the arrow in the bottom left to expand the input menu and choose the channel(s) you want to hear.
If you only select the Center channel (or whichever one you set for the Inst Input), you can route the whole track to the ReAmp Output. I send mine through the left channel since I’m recording a mono DI. Set the Axe Input to Digital, and you're all set to re-amp to a new track. You can also do this with a wet amp channel to re-amp with delays, reverb, or anything else.
The last step (if needed) is to highlight the track after recording and convert it to mono. This gives you individual mono tracks to use however you want, or you can leave the LRC channel as it is and send it to a mixer to split up on their system, like Jeremy showed in his video.
I’m still figuring this out, but this kind of flexibility is why I stick with the Axe FX 3 as my main interface, and the RME just stays boxed up and in the closet. This feels like one of those insider tips you only get from working with a pro, so big thanks to Jeremy for sharing it. Hope this helps you get more efficient and effective recordings with your Fractal unit! <3
Extra tip: When re-amping, send a single metronome beat after a safe distance from the DI track and record it at the very end of the take. That way you can tab to that transient and align that to the grid which will align your track with the original take and you don't have to worry about latency offsets ever again
In Cubase, create an LRC track via Audio Connections and specify the inputs as follows:
Left = IN 1 [Out 1 Block L]
Right = IN 2 [Out 1 Block R]
Center = IN 5 [In 1 Instr]
Next, create an LRC track (NOT a Stereo track!) and use the created Bus for the audio input.
Then, record a take and experience the glory that is LRC!
Now, you can easily activate any channel by double-clicking where the pan knob usually is in the mixer to open MixConvert. Set both the Center and Side channels to 0dB, then use the arrow in the bottom left to expand the input menu and choose the channel(s) you want to hear.
If you only select the Center channel (or whichever one you set for the Inst Input), you can route the whole track to the ReAmp Output. I send mine through the left channel since I’m recording a mono DI. Set the Axe Input to Digital, and you're all set to re-amp to a new track. You can also do this with a wet amp channel to re-amp with delays, reverb, or anything else.
The last step (if needed) is to highlight the track after recording and convert it to mono. This gives you individual mono tracks to use however you want, or you can leave the LRC channel as it is and send it to a mixer to split up on their system, like Jeremy showed in his video.
I’m still figuring this out, but this kind of flexibility is why I stick with the Axe FX 3 as my main interface, and the RME just stays boxed up and in the closet. This feels like one of those insider tips you only get from working with a pro, so big thanks to Jeremy for sharing it. Hope this helps you get more efficient and effective recordings with your Fractal unit! <3
Extra tip: When re-amping, send a single metronome beat after a safe distance from the DI track and record it at the very end of the take. That way you can tab to that transient and align that to the grid which will align your track with the original take and you don't have to worry about latency offsets ever again