![]() ![]() Maybe that bass tone doesn’t have the body you need to hold its place in the mix. Maybe the guitar sound you recorded isn’t knocking your socks off, but the performance is killer. While many amp simulators sound great and can be a real handy way to get beefy tone without a ton of volume, there’s nothing like recording an amp pushing air and making noise. It depends on what you’re going for, but I think it would be overkill to put your best, large diaphragm condenser in the room to pick up these ambients.” “You can almost get away with using the cheapest mic you have for this technique. I ended up sticking a mic in the shower, which was adjacent to where they were cutting the tracks, pulled up the kick, snare, and toms through the monitors, and all of a sudden it sounded like the drums were cut in a huge, beautiful sounding room.” “I worked on this one project where they were basically recording in an apartment, and they needed help – the drums weren’t cutting it. “That works pretty well because you can play with the right and left mix to widen the ambience.” “I’ve gone as far as to put a mic one room away, and then another two rooms away, and use those different tracks on the left and right for a stereo effect,” says Jon Marc Weiss, recording engineer and owner of Kiva Productions in Hollywood, PA. You’ll capture a splashy, boomy sound that you can’t really get with a digital reverb. In such a case, bring up the kick, snare, and toms in the monitor – you won’t want to bring up the hi-hat or cymbals as you typically don’t want reverb on those – and put a microphone down a hallway. Often a home studio environment is not ideal for recording drums – it might be too small a room, or a controlled room designed to absorb a lot of the energy – which can leave you with a dry and lifeless drum track. This can be a particularly handy technique for recording drums in a project studio. You can nudge it ahead, closer to the original track, or you can separate it from the original – whatever sounds right for the instrument and the song. If you’re working in a digital environment, you can even move that reverb around and control where that ambient track sits. Mix that in and you’ve added breadth to the original. Play the track through studio monitors and put a mic on the other side of the room, or even a room or two away, and pick up the natural ambience on a new track. You can always go to a digital reverb or delay, but let’s say you want to experiment, or you want a sound that’s just different from the go-to effects in your software or outboard repertoire. Let’s say you’ve got something on tape, you love the performance, but you’re playing it back, and it’s just a little too clean – it needs a bit of room ambience. There are lots of possible applications for re-amping, including: The basic idea is to take a recorded track, send the signal to studio monitors or an amplifier, set up a mic, and record the “re-amped” track. You can even totally reinvent a part without compromising the original track. It’s also a great way to experiment with sounds and tones without having to constantly re-record a part. Re-amping is a recording technique that can salvage or spruce up tracks recorded in a home studio or less-than-ideal recording environment.
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