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Impedance is not the real issue here - level is the real issue.
Certainly - impedance loading on your guitar's passive pups has a big affect on your tone. But - that effect is locked into your clean DI track, and it's too late at the actual re-amping stage. I'll assume you have recorded your clean DI mono track with a decent DI box or instrument level preamp.
The trick is to match the output of your D/A converter to your amp. Pro D/A output is +4 balanced - waay too hot for a guitar amp. Even semi-pro -10 unbalanced output is too hot. Sure - you can connect them up with a cable, or even with a roughly unity-gain stomp box, but if you don't have sufficient attenuation, you could end up attenuating in the digital domain. The downside of doing that is that your D/A has a fixed level of hiss/hum/grunge. By dropping your DAW faders to match levels, you aren't dropping this fixed level of noise. So your signal to noise ratio suffers - and that isn't a good thing when you are going to drive a high gain amp.
It's much better to attenuate in the analog domain, after the D/A, which reduces the noise too.
The other problem is that direct audio cables between DAW and amps etc can bring ground loop hum to the party.
I prefer a decent passive reamp box - which is totally different to a passive DI used backwards.
A passive DI (transformer) is designed to attenuate an instrument down to Mic level. So used backwards, it provides a voltage multiplication (at the expense of current reduction). Using one backwards is really dumb - because the last thing you need when trying to hook up your line level signal to a guitar amp is MORE level ...
A real reamp box is a custom designed box for a specific purpose, and nothing does it better. Sure - plenty of methods will pass signal. And noise.
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