Port Coquitlam, BC, Canada – Sept 1, 2026 – Radial Engineering Ltd. is pleased to announce a new exclusive distribution agreement with Asimetrik, naming the firm as the official distributor of Radial products in Türkiye.

With 40 years of experience delivering integrated audio, visual, and lighting (AVL) solutions for many of the region’s most demanding venues, Asimetrik is ideally suited to drive Radial’s growth in the region. Through this partnership, Asimetrik will distribute Radial’s complete range of professional audio products in Türkiye, deepening both firms’ ability to provide class-leading audio solutions and support for the Turkish market.

“We are very excited to have Asimetrik as our new official distribution partner for Turkey,” says Phil Coelho, International Sales Manager at Radial Engineering. “Their deep understanding of the Turkish audio market, combined with their strong industry relationships and alignment with the Radial brand, uniquely positions them to significantly expand our distribution network in the region and support our long-term growth objectives. We look forward to a long and successful collaboration.”

Leveraging Asimetrik’s well-established sales, technical, and customer support capabilities, this partnership will broaden access to Radial Engineering’s extensive product line in Türkiye and reflects the Canadian company’s ongoing commitment to ensuring international partners and customers can seamlessly access Radial’s technology and knowledgeable local service and support.

About Radial Engineering Ltd.

Headquartered in Port Coquitlam, BC, Radial Engineering is a leading manufacturer of professional audio equipment, including direct boxes, Reampers, signal processors, and audio routing infrastructure trusted by touring professionals, recording studios, and commercial integrators worldwide.

About Asimetrik

Asimetrik is a leading provider of audio, visual, and lighting (AVL) system design, integration, and operational solutions for Türkiye and the wider region. For 40 years, the company has partnered with leading global brands to deliver engineering and technical services and create turnkey solutions for demanding, high-profile projects, including civic institutions, sporting and cultural venues.

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Where Great Sound Begins and What’s Next Takes Shape

Welcome to Radial Engineering’s TTYM30 Hub!

The primary source for all the content, storytelling, and news we’ll be creating and sharing to celebrate our 30th anniversary TTYM30 campaign.

At Radial, True To Your Music isn’t just a slogan; it’s a promise and a passion:

A promise to continue delivering gear that ensures pristine audio and removes the barriers between inspiration and creation.

A passion for streamlining the creative process for music makers of all descriptions.

Whatever being True To Your Music means to you, it’s a goal we all pursue passionately. An ever-evolving process of creation and discovery that encompasses everything artists, technicians, engineers, and audio professionals do.

Whether you’re just starting out or have decades of dedicated practice and performance behind you, we’d like to invite you to celebrate with us. Join us as we explore what’s new, what’s next, and what’s necessary to help creators make more music, more confidently and creatively on stage, in the studio, and anywhere and everywhere in between.

Enter Our TTYM30 Giveaway!

Radial Engineering #TrueToYourMusic30 Giveaway – Pro Live Edition

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Radial Engineering Ltd. is pleased to announce the expansion of its distribution partnership with POLAR, which will now serve as the exclusive distributor for Radial Engineering products throughout both the UK and Ireland.
 
Since 2017, POLAR has represented Radial Engineering exclusively in the UK, delivering Radial’s innovative, professional audio solutions to dealers, integrators, rental companies, and audio professionals throughout the region.
 
Backed by POLAR’s experienced sales, technical support, and customer service teams, the addition of the territory improves access to Radial’s complete portfolio of professional audio solutions in Ireland and deepens the two companies’ successful long-term relationship.
 
“POLAR has been an outstanding partner for Radial for many years, and we’re excited to expand our relationship into Ireland,” says Phil Coelho, International Sales Manager at Radial Engineering. “Their deep understanding of our products, strong relationships throughout the market, and commitment to customer support make them uniquely positioned to continue growing the Radial brand across both the UK and Ireland. We’re proud to have POLAR representing Radial throughout the region.”
 
The appointment further strengthens Radial Engineering’s support throughout Ireland and reflects the Canadian company’s enduring commitment to ensuring its international partners and customers can seamlessly access knowledgeable local representation and service.
 
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Radial Engineering announces the retirement of Western Sales Manager Mark Gummer after more than three decades with the company. Succeeding him in the role is Jeremy Cook, who officially stepped in on May 1, 2026.

Throughout his 30+ years with Radial, Mark embodied the company’s commitment to excellence and its “music first” philosophy. As the late Peter Janis’ first sales hire at JP Cabletek Electronics Ltd., Mark later became Radial’s first Sales Representative when Peter founded the company in 1996.

“At that time, there were no departments or territories at Radial—it was just ‘Sales,’ and that was Mark,” says Roc Bubel, Director of Sales and Marketing at Radial Engineering. “Anyone who showed interest in our products received his full attention. He had a remarkable ability to connect with people, especially young musicians and students, and make the technology accessible.”

Roc recalls a moment from NAMM 2026, where Mark announced his retirement: “A group of young music students came into the booth, and Mark spent as much time as they needed, walking them through the products and answering every question as graciously, generously, and enthusiastically as he always did. That’s the ethic he inherited from Peter and carried throughout his career.”

“Mark flew the Radial colours like nobody else, with exuberance, honesty, and integrity,” he continues. “His commitment to the company and to dealers and end users – no matter who they were – was 110 percent at all times. Seeing him in action at NAMM was inspiring and felt like the perfect send-off.”

“After 30+ years, I could not be more proud of the company that Radial has become. I’ve seen it all unfold from the very first JDI to the global industry leader that Radial is today, and I’m honoured to have been a part of the journey.” – Mark Gummer

As Mark steps away, Radial welcomes Jeremy Cook, whose extensive experience in pro audio, recording, and MI retail makes him a natural successor. Jeremy spent decades managing brand portfolios at Tom Lee Music and later held roles in Marketing and Brand Management at SF Marketing from 2021 to 2024.

“When Jeremy started at Tom Lee Music, it was relatively new as a full-on MI shop,” Roc says. “He played an integral role in building one of the strongest recording and pro audio departments in the country. His background and deep understanding of the retail landscape and the industry as a whole are unsurpassed, making him exceptionally well-suited to carry forward Mark’s legacy while helping drive Radial’s continued growth.”

“Working over the years with Mark as a buyer, I always admired Radial Engineering for its incredible reputation and commitment to building what I believe are the industry’s most trusted pro audio solutions. I’m excited to now be part of the team so I can support our dealers and help them grow over the coming years.” – Jeremy Cook

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POLAR DELIVERS DEPENDABLE RADIAL FOR YUNGBLUD TECH

Guitar and Backline Technician, Ben Jackson enhances YUNGBLUD’s setup with Radial Engineering guitar and amp switchers from POLAR Professional Audio.

Photo: Alex Beamis

With 18 years in the game, Ben Jackson knows the road like the back of his hand. He got his start behind the wheel, quickly moving up to backline tech for a string of touring acts – including two runs on the Vans Warped Tour. Since then, he’s gone global with Neck Deep and added names like Good Charlotte, Bullet for My Valentine, Deaf Havana, and Frank Turner & the Rattlesnakes to his collection of AAA passes. Jackson first crossed paths with YUNGBLUD in the early days, striking up a strong working relationship as the artist’s career took off. Since 2019, he’s been the artist’s go-to Guitar and Backline Technician, also looking after stage-right duties for Guitarist and Musical Director, Adam Warrington and Bassist, Silke Blansjaar.

“It’s a high-energy, fast-paced show where performative elements can be unpredictable, so having a rig that is rock solid every night is essential,” said Jackson, YUNGBLUD’s Guitar and Backline Tech since 2019. “My biggest challenge is keeping things consistent across every stage, country, and venue, every night. There’s no time for tech issues mid-set, so everything’s built for reliability and speed. Radial Engineering gear plays a big part in that – it just works, every time.”

Jackson has been using Radial Engineering products since 2017. Neck Deep’s stageleft guitarist, Sam Bowden, introduced the engineer to the Radial Engineering StageBug SB-6 Isolator. “On my first day with YUNGBLUD, stage-right guitarist and Musical Director, Adam Warrington, had me build him a stereo amp setup, and the SB-6 was the first thing I added to the rig. It’s still there to this day,” the technician fondly recalled.

Up until March, Jackson was using one line of RF each for Warrington and Blansjaar. “At the start of this album cycle, we were given a budget to upgrade the rigs and to employ a second tech to split the workload. The first thing I ordered was the JX42 – I always felt I was pushing my luck having only one line of RF on such a high-profile show. Having four lines of RF easily interchangeable was essential not only for slick guitar changes but, should any of my RF get stomped on mid-show, I’m able to switch to a backup guitar on a clean frequency. I’m blown away by how user-friendly the JX42 is, especially when coupled with the JR5 remote,” he added. “Having the JR5 remote in the wings means that I can easily engage and disengage each input whilst 20m from my guitar world. This is a must, especially when handing off two guitars at once!”

Earlier this year, while designing the new rigs, stage-left Guitar Technician Elliot Russell, and Jackson quickly settled on the JX42s as an essential part of the build. “With high-pressure shows it is so important to relieve any tech responsibility from your artist. Their focus should be on the performance and nothing further,” he explained. “Eliminating the need to switch packs on and off is just one less thing for the artist to worry about, and achieving this without compromising tone is essential. The JX42 sounds like it’s not even there! It’s the industry standard for a reason.”

Jackson spends a lot of time working and talking with other technicians about issues that arise. One thing that comes up time and time again, he said, is the reliability of Radial products: “Once they’re installed you can stop thinking about them – you power on and they work. Having this reliability is ultimately why I look to Radial in every instance. We have countless Radial products over the whole YUNGBLUD stage and wings, from JDIs, Backtracks and HotShots,” Jackson commented, citing the “build quality” and “durability” of Radial’s portfolio. When building YUNGBLUD’s redundant Quad Cortex rack in April 2024, Jackson consulted a “pioneer of fly racks”, Brad Bartosz of Best-Tronics Pro Audio (BTPA). “He immediately pointed to the Backtrack for its practical implementation and rock-solid application. Since installing this unit, I have had it save my skin multiple times. With seamless switching between A and B machines, having such a reliable analogue switcher for essentially two computers is now the only way to go!” Jackson enthused.

The team currently tours with three SGI RX/TXs. “With stages expanding in what feels like a weekly occurrence, we have had to allow for our tech worlds getting further away. With 20m looms, our concern for running unbalanced cables had to be addressed,” Jackson noted.

Cue the SGI TX/RX, with its capability of switching an unbalanced signal into a balanced signal and back again. Jackson elaborated: “It was a no-brainer for us to implement this product. With its ability to do this comfortably up to 100m, it could handle our 20m easily.“

Radial solutions have also found their way into YUNGBLUD’s audio package and playback world, with Playback and Keyboards Technician, Luke Collins, harnessing Radial Backtrack and ProD8 daily.

“Having an attentive service like POLAR in the UK has made getting hold of Radial products a breeze,” Jackson said. “They have a fantastic customer service team who pick up the phone when you need them, and even post things out when you’ve most certainly missed their next-day cut-off time – and I’m speaking from experience…”

www.yungbludofficial.com
www.radialeng.com
www.polar.uk.com

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For many of these executives, stocking up on Radial gear has always been a priority based on Radial’s reputation for reliability and ruggedness on the road, two key requirements for rental equipment in the tour sound business.

“Radial products are 99% rider proof,” says Ben Krumholz, Sound Engineer and System Tech at Maryland Sound. “When bands ask for a generic DI for a show or on a rider, most engineers or techs will not think twice when handing them a Radial box. That’s because every time you plug in a Radial box, you know the output is going to sound true to the instrument,” says Krumholz.

Along with reliability and ruggedness, dependability and durability are also paramount in the equipment rental business because of the abuse sound equipment takes on tour. This is often the case with a unit such as the ubiquitous direct box.

“Direct boxes are probably one of the most abused pieces in the industry,” says Jason Wells, COO of Mid-America Sound.  “In addition to their primary purpose, DIs get used as wheel chocks or to prop up monitor wedges. They get dropped off keyboard stands, they get tossed into the bottom of a mic bin. Radial DIs can take this type of abuse and just keep working.”

Rob Mailman, Senior Vice President at Sound Image, echoes Wells’ perspective on the ruggedness of Radial DIs. “A DI is not a large piece of gear that’s well protected in a road case like other gear. It gets thrown around on stages. And the housing on Radial gear is so robust. In my experience, Radial Dis are very well built and assembled and require very little if any service throughout their hard life on the road.”

In the end, for professional tour sound companies in 2024, it’s all about counting on reliable equipment that gets the job done consistently and without breakdowns.

“It comes down to quality and value,” says Krumholz. “Radial products are the best sounding products for the job.”

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Much of the reason for this is based on the fact that Radial has been the de facto leader in the Reamp® design and innovation field since acquiring rights to the technology that was first introduced by San Francisco-based engineer John Cuniberti in the late 80s and early 90s. 

Additionally, not many people may know that one of Radial’s most popular Reamp® boxes, the Radial JCR Studio Reamper, continues to be built to the original specifications of Cuniberti’s early 90s-era Reamp® box design — inspiring Radial’s JCR designation for the unit to be the “John Cuniberti Reamp.”

Today, the vision for Cuniberti’s original Reamp® design, an all-in-one Reamper and direct box unit that was too expensive to produce in the early 90s, has been realized in Radial’s latest Reamp® box, the Reamp® Station.

“My very first prototype was both a DI and a Reamp®, and I still use it because it’s a fantastic direct box,” says Cuniberti. “When I decided to go into business making Reamps, it was going to cost me too much to have a multifunctional transformer that was going to do both things well. It’s great to see that Radial has closed that gap and brought that vision to market in the Reamp® Station.”

Currently Radial manufactures and markets 10 Reamp® devices, from its latest product, the Reamp® Station to the legacy JCR Studio Reamper, with a number of models to fill out the line.

Even though it’s been 40 years since Cuniberti’s first Reamp® box, guitar players, producers, and engineers still rely on Radial’s signature trademarked Reamp® boxes to craft award-winning songs and albums.

“Reamping comes into play when you’re sitting back and starting to overdub the album and you think, ‘I wish I had a dirtier or a more fuzzed up guitar sound to go with that basic sound,’” says producer/engineer Joe Chiccarelli. “That’s where a Radial Reamp® box really comes into play, especially when you’re on a tight schedule or budget and you need something that you know will work the first time. Radial is just the go-to company for any kind of accessory you need.”

For more information on Radial Reamp® boxes, visit the company’s Reamp® page on its website: https://www.radialeng.com/product_category/reamp.

The post Radial and Reamp®— A Trademark of Success appeared first on Radial Engineering.

In this interview we chat with renowned record producer, mixer and engineer Joe Chiccarelli.

Radial: Joe, you’ve been reamping for a long time, even before you started using Radial Reamp® boxes. Talk about what it was like before Radial came out with its first reamp box.

Joe: Before Radial, reamping was something that I always did with a bunch of makeshift connections — just stringing things together, whether it was an XLR out to a quarter inch and into a guitar amp or an RCA into an old spring reverb. It was something that we always did back in the day, but never did properly. And as a result, we always battled the hum and the too much gain issues, et cetera, et cetera. But there was nothing else at the time, so you kind of just made stuff work. 

Radial: You’ve traditionally used a lot of effects boxes in your reamping setup, correct?

Joe: Yes, I like using effects boxes and guitar stomp boxes, they’ve been part of my workflow for a long, long time. I find that, in general,  the cheaper the device or box, the more personality it has.

Radial: What type of boxes do you like to use?

Joe:  I’m never afraid of using lo-fi devices or guitar boxes. Back in the ’80s, those multi-effects pedals that were made for guitars and keyboards were always great. Things like the old Zoom and Yamaha boxes and the Tom Scholz Rockman, things like that.

Radial: What’s the appeal of these types of boxes?

Joe: I mean, all that older stuff just has so much character. Especially doing rock music or alternative rock music, you want stuff that has as much personality as possible. So using those older boxes has always been a part of my workflow.

Radial: What was interconnecting the technology like back in those days, especially in a Reamp® setup?

Joe: (laughing) No one ever really did the interconnections right. You were always gluing something together! Like if something had an eighth inch plug and you were connecting it together with alligator clips or all that silly shit! You’d find a way to make it work!

Radial: You started out reamping using one of John Cuniberti’s first Reamp® boxes back in the day, right?

Joe: Yes I forget the year, but it was great when John came out with his Reamp® box because it just made so much sense to properly transform or isolate the signal and match the impedance. It really simplified the process and made it much more reliable and relevant.

Radial: Let’s talk a little bit about recent projects where you’ve used Radial Reamp® boxes.

Joe: Well, reamping is something that is more than likely part of most projects I do. That said, I’ve been working recently with Robert Randolph, an amazing blues and pedal steel style player. He’s an amazing, incredible musician, a really wonderful artist. And we’re constantly sending stuff back into his pedal board or pedals that are at the studio. We’re working on a new album right at the moment and definitely a number of the steel tracks have gone through a full tone delay and a bunch of guitar stomp boxes.

Radial: Can you give an example?

Joe: One thing we do a lot of is feed the steel back into either a Roland Space Echo or a full tone tape delay and then print that back. That’s been really cool to do. At my personal studio here, I have two Radial EXTC boxes and very, very often they are connected to the Space Echo because that box has such a personality, especially on vocals. There’s a certain character in the way the Reamp® on the Roland Space Echo distorts that I love adding it into vocal tracks. It really gives the vocals a little bit more bite and presence. So I’m very, very often taking a vocal track from Pro Tools, feeding it via the EXTC into the Space Echo, using a little bit of delay and using the overload from the Space Echo to be a part of my vocal sound. Reamping makes this type of approach possible.

Radial: Cool, what about other recent projects?

Joe: I recently did another Morrissey album. I’ve done five albums with Morrissey. Even in the tracking sessions, we were constantly feeding guitars to a second guitar amp because in some cases we wanted a cleaner or dirtier tone that we didn’t quite get on the tracking dates. In fact, that’s maybe one of the first times I think I really saw the benefit of reamping was when using multiple guitar amps for a player. In fact, some years ago I did an album with a British artist named Keaton Henson who was this very moody, atmospheric, almost like bedroom pop, And it’s storytelling, very moody, very intimate. It’s really one guitar, one sort of droney rhythm guitar with a lot, a lot of effects on it.

Radial: Describe what you did during those sessions.

Joe: Often in tracking I would take his DI because the DI was really perfect to feed to effects, but I would also print that DI and then later I’d go back and feed it through a different guitar amp. And maybe that guitar amp would have some tremolo or a spring reverb on it, and it would be a different tone than the original guitar amp and I could pan them left and right and get a much wider image there.

Radial: Was this a new approach for you, or something you’ve done before?

Joe: For years I’ve been doing that to kind of get fake stereo guitar sounds, especially for artists like that where you don’t want a lot of overdubs on the album. You want it to be pretty true to what they do, but you definitely want a bigger picture and more layers to the production without adding unnecessary instruments or parts. So it’s a great way to fill out the sound but kind of keep it honest.

Radial: So do you pretty much, as a standard, particularly when you’re recording guitar, go ahead and set up a DI so you just have it?

Joe: Not always. I’ve never been the one to just print a DI from the guitar. A lot of people do that, but I almost find that there’s too many possibilities there. I’ll do it when I know that I’m going to specifically do some experimenting with guitar tones after the fact, but I try to really commit to my sounds when I’m tracking if that’s what the project calls for.

Radial: So reamping is a tool that you use regularly, but not all the time, just depending on the project.

Joe: Yes. So even though I do Reamp® things from time to time, I’m also regularly printing sounds as I go, trying to capture them in the moment. Reamping comes when you’re sitting back and starting to overdub the album and you start to hear it and go, “Boy, I wish I had a cleaner guitar sound to go along with that or a dirtier or a more fuzzed up guitar sound to go with that.” Or sometimes it’s very often that you try and overdub something on a section of a tune and it becomes too much to add another part. Like I was saying earlier, it sounds overproduced.

Radial: What’s your approach in that type of situation?

Joe: In essence, all you really have to do is distort the guitar more for that section. Or what sometimes really comes in handy is taking an acoustic guitar and sending an acoustic guitar out to some pedals or to a guitar amp and just kind of electrifying that acoustic. It really works great with a lot of intimate singer songwriters when you need a little bit more power to electrify the acoustic guitar and you just end up blending it in a little bit behind the original and it just gives the acoustic some more life and juice. And it doesn’t really necessarily sound like an electric guitar or an overly distorted acoustic, but it just kind of has a little bit more power.

Radial: I’m glad you mentioned using the Reamp® on an acoustic guitar, not just the electric guitar. Do you also use reamping on other instruments?

Joe: Absolutely. A lot of times I’ll put drums through guitar pedals using a Reamp® setup, whether it’s a Rat distortion pedal or the old Tech 21 Comp Tortion pedal. My studio is at Sunset Sound here in Hollywood, and there’s a kind of counter in the back of Studio One, and it’s very, very common for us to set up a bunch of pedals back there and have it on a send so we can easily send to those pedals and see if you get some kind of interesting sound and then you print it back.

Radial: Is there one special trick that you do with reamping that you can share?

Joe: Sure, one thing that I do often that’s an interesting little trick is to feed the instrument, whether it’s a guitar, drums, or even a synthesizer, back out to a guitar amp or speaker out in the room and not necessarily mic the speaker, but just mic the room.

Radial: What effect does this produce?

Joe: It just gets a little bit more 3D image of the sound. Synthesizers can be very kind of one dimensional and it’s always really tricky to get them to blend in with acoustic or electric guitars. So getting them to have some more kind of organic personality is sometimes tricky, and sometimes that’s just in the way that you EQ or compress them, but other times it’s really putting them in an environment like a room, and putting some dimensionality around them. So I’ll often just feed them back out into the room, mic the room and print that ambience.

Radial: Is this often a preferable way to add dimension to a sound rather than to use a reverb or plug-in effect?

Joe: Yes, exactly. When it comes to the three-dimensional elements like reverb or room ambience, plugins just aren’t the same as taking advantage of an actual acoustic space. So that’s one place where reamping really, really comes in handy by adding dimension to a track. So if I feed the sound back out into a guitar amp, I won’t necessarily overdrive the guitar amp. I might keep it pretty clean. And what I’m really interested in is capturing the space between the loudspeaker and the microphone.

Radial: And in those cases, will you do multiple mics or just a mic right on the amp, or do you mic in the room? 

Joe: I’d have a pair of mics in the room or a stereo mic or something like that. At that point, it’s really about the ambience.

Radial: You’ve been reamping a long time, and have one of the original John Cuniberti Reamp® boxes, before Radial acquired the design from John. Is there anything in terms of the way that you’ve approached the process of reamping in terms of micing, or cabinets, or has it pretty much stayed the same as when you started?

Joe: I would say it’s stayed the same. If anything, I probably do more where I am using the ambience as opposed to the direct signal then when I started reamping. Back then, it was more about effects devices, stomp boxes, guitar pedals, that kind of thing. So now I use it to get more from the actual room ambience than I do from the pedals when I Reamp®. But like I said earlier, I’m always feeding the signal to my Space Echo or older stomp boxes because they really have a great sound.

Radial: And how does this process of capturing ambiance differ from using a plugin?

Joe: Well, plugin’s can be great. For instance, the UA Space Echo plugins are fantastic, but the one thing that I don’t get is the ability to drive the input and distort the input in the way that I can with the actual hardware device. So when I’m looking for that kind of character to add to a vocal, I’ll actually use the hardware, but when I need just the sort of repeat delay from the Echo device, then I might use a plugin.

Radial: How does the process of reamping fit into the production decision making down the road, once you’re starting to pull the tracks together?

Joe: When I’m working, I really like to make all my decisions right there off the floor and not leave a whole lot to mystery or to second guessing. So with reamping,  it’s more about if I actually get into the process and find that I’m missing something, I would try something different using reamping.

Radial: And is that generally a decision that’s made along with the artist or is that something that you experiment with and then the artist comes back in later and you say, “Hey, check this out?” How does that collaboration process work?

Joe: Usually it’s me just experimenting with things. I’ll say, “Hey, I wasn’t a hundred percent sold on this sound,” or “I wondered if we could have a change-up in sound for this section of the tune. So I took the guitar and I fed it through the bass amp and I over drove the bass amp and I’m thinking maybe just in the bridge of the song we have this more blown up bass texture.” So it’s usually that kind of thing.

Radial: And, in your experience, is the artist generally pretty okay with that process?

Joe: I would say it works out well more often than not. I mean, I think reamping is a pretty common thing. The nice thing is that now everybody knows about the studio and the tricks and all. People know the terminology. So I think for most artists they kind of understand the reamping process. So it’s not uncommon for somebody to come in and say, “Hey, I like the guitar tone we got, but I’m wondering if it could be a little more? Should we have distorted it more or should it have been chorused or whatever?” And you’ll go, “Oh yeah, well, we could feed it out to a clean amp with some chorus effects and see what that does.” It can be something that’s brought to my attention by the artist, but usually it’s me, as I build the record and get close to mixing, that I start to feel this may be lacking a little something here.

The Full EXTC Range:

EXTC 500

Guitar Effects Interface

The Radial EXTC is a 500 series effects send & receive module that lets you incorporate guitar effects into the realm of pro-audio recording.

EXTC-SA

Guitar Effects Interface

The Radial EXTC-SA is a stand-alone audio interface that lets you incorporate guitar effects into the realm of pro-audio recording.

EXTC-Stereo

Stereo Guitar Effects Interface & Reamper

The EXTC Stereo allows you to connect guitar effects pedals to the inputs and outputs of pro audio equipment such as recording interfaces and mixing consoles, so you can incorporate stereo pedals into your recordings and explore new creative possibilities.

Radial: Before we wrap up, talk a little bit about the Radial gear you use most often.

Joe: Well, I definitely use the Radial EXTC. And I have a Workhorse rack that I love with Radial 500 Series modules with the mixer built in. As I said before, I really like to get my sounds while I’m tracking. So even if I’m overdubbing guitars and I have multiple mics on a guitar amp, I’ll want to take those mics and just sum them together and get my guitar sound right there on the spot as opposed to printing three or four, or whatever it is, individual microphones and printing all those tracks and Pro Tools and then having to decide later which I use or in what balance.

So having the Radial 500 Series workhorse and being able to really sum stuff right there and balance it out and get the sound that I want right there and print it on one track and commit to that, that’s so helpful.

Also, it’s really cool to see that every studio I go in, everybody has the Radial SGIs, the yellow boxes to run out to guitar amps and all. Honestly, they’re everywhere I go. I was in Vancouver, I was in Nashville. So everybody’s got them. It’s kind of cool that the SGIs are a very commonplace thing out in the studios everywhere.

Reamp® Station

Studio Reamper & Direct Box

The Reamp® Station combines two studio essentials in one chassis: an active DI box for pristine recordings of any instrument, and the JCR high-performance Reamper to feed those recordings to your guitar amps and pedals during mixdown.

Workhorse

8-Slot Power Rack

The Radial Workhorse is an 8-slot 500 series power rack with a built-in analog summing mixer, headphone amp and extensive patching capabilities.

SGI 15v

Guitar Interface System

The Radial SGI Studio Guitar Interface class-A line driver with load correction lets you send a guitar signal up to 100 meters via balanced cable without noise.

Radial: Any final words about Radial or the Radial gear?

Joe: Oh man. Radial is the go-to company for any kind of accessory you need. In other words, if it’s a box to interface an iPhone into the studio, or if it’s a direct box or some interface box, you’re always kind of saying to yourself, “I need a box that’ll do this or that and I wonder if Radial makes one.” And nine times out of ten, you’ll find Radial has it. It’s like, “I think Radial must make something that’ll do that!” It’s just a company that you can always rely on to be able to provide exactly what you need to do your job.

The post Reamp® Revelations: Joe Chiccarelli appeared first on Radial Engineering.

While some of the nuances of touring in a post-pandemic world have changed, one thing that hasn’t changed is the punishing conditions that audio gear takes as tours shuffle between short hop dates with gear flying in scaled-down racks versus months on the road with gear loaded in and out of trucks at each venue.

“The thing I love about Radial gear, in addition to how great it sounds, is that it’s just built like a tank and I never have to worry about it failure-wise,” said John Farrell, production manager for Blackberry Smoke. “For me, that’s incredibly important because I have limited time every day to do things, even if everything’s 100% functional, let alone troubleshoot anything. So the fact that I don’t have to worry about the Radial gear and it sounds great is just such an amazing combination to me.”

While most touring acts, including Blackberry Smoke, who played over 250 dates in 2022, rely heavily on Radial’s ubiquitous DIs, many also rely on the unique problem-solver boxes that Radial has become well-known for.

“One piece of Radial gear that we really rely on for our live show is the Catapult Mini,” said Allan Bates, production manager and monitor mixer for Bob Moses. The Catapult Mini enables Bates and team to drive four analog audio channels over a single shielded Cat 5 cable. “The Catapult Mini sits on our keyboard rig and the CAT5 cable goes offstage to another Catapult Mini for playback. This allows us to run the keyboards and trigger playback changes from onstage over a single CAT5 cable. The Catapult Mini is an essential tool in our show, and one that must work reliably every night, and it does.”

The Radial JX42 V2 and JX44 V2 instrument switchers were officially launched during a period of the pandemic where touring was essentially at a standstill. With touring accelerating in 2022 and likely even more in 2023, many artists are eagerly planning to update their rigs with the new Radial instrument switchers.

“We’re going to be adding JX44 V2s in the rigs that live in the semi,” said Farrell. That’s going to really add a lot of versatility to the types of shows we do, whether it’s on the road or short and quick fly date shows.”

The JX42 V2 can accommodate up to four instruments or wireless receivers, with any combination active at the same time. Large backlit switches on the front panel choose which instruments are live, and any inputs that aren’t selected automatically feed a dedicated tuner output. 

“I’m a Radial guy for life because of its reliability and the support we get,” says Farrell. “When it comes to dependability, I’ll take a J48 that works every day over some boutique piece of gear that half the time needs to have the tubes replaced.”

Catapult Mini

Compact Cat 5 Analog Snake

The Catapult Mini is a compact passive audio snake that allows you to send four channels of analog audio over standard Cat 5 or Cat 6 Ethernet cable.

JX42 V2

4 Input, 2 Output Guitar and Amp Switcher

The JX42 V2 offers professional guitar and amp switching for any touring act, with the ability to handle up to four instruments and two amplifiers simultaneously.

JX44 V2

Concert Touring Guitar & Amp Signal Manager

The JX44 V2 is a guitar signal manager designed to handle four guitar, four amplifier with effects routing and midi control.

The post Acts Gear Up for 2023 Touring Season with Radial appeared first on Radial Engineering.

The Reamp® Station is a combination active DI and Reamp® device in a single unit. The Reamp® HP is a mono reamper that allows use of the headphone output of any compact audio interface as the Reamp® output source.

The Reamp® Station embodies the all-in-one original Reamp® design intentions of John Cuniberti, a groundbreaking engineer who built the first Reamp® box in 1993. Rights to his design were purchased by Radial in 2011, resulting in the legendary Radial JCR reamper. The Reamp® Station brings together the JCR and an active direct box to create Radial’s first all-in-one recording/reamping solution.

Reamp® Station

The Reamp® station is heavily influenced by qualities found in Radial’s JCR combined with its studio-quality active DI circuits. New tweaks to the active DI design in the Reamp® Station include a unity-gain Class-A buffer switch and circuit on the Thru output, preventing any loading down of passive pickups when connected to an amplifier and preserving the natural tone of the instrument.

Inputs include a ¼″ TRS and 3.5mm mini-plug for connecting mobile devices and tablets. A 48V LED indicator signal if the unit is receiving phantom power. The unit also features Reamp® level control, filter and mute switches.

 

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The Reamp® HP accepts signal from the headphone output jack on an audio interface, such as a 2-channel unit, making it incredibly easy to connect on the fly without having to unplug a studio monitor cable or dig around behind a studio desk or equipment rack to set up for reamping.

The passive Reamp® HP features ¼″ TRS and 3.5mm mini input connections, transformer isolation to eliminate ground loops, variable output control to optimize signal levels, all in an affordable, compact design.

Reamp® HP

 

“Reamping has dramatically increased in popularity over the past few years,” said Jay Porter, product manager for Radial. “Home studio users have discovered a secret weapon of the pros and are making Reamping a regular part of their mixes. The Reamp® HP allows users with small, 2-channel interfaces to step into the world of reamping using a headphone output. The Reamp® Station combines our flagship JCR with a premium direct box that is tailored for reamping. Both will make it easier and more fun for engineers to step into another realm of sounds!”

The post Radial Introduces Two New Reamp® Solutions appeared first on Radial Engineering.