![]() This setup leaves you with strong, centered low frequency focus, but adds an interesting distorted ‘width’ component. For maximum sum and difference affect, mic the amp off-axis. Use the return from the amp just as you would use the ‘side’ component of a mid-side mic array.Somewhere in signal flow, HPF this path in the 300 – 500Hz neighborhood. Set up a nicely overdriven bass tone on an amp.Get it sounding great, and set up a re-amp path Use a DI bass right up the middle of your mix.I think it kills for gritty bass, particularly with tight, close drums. On keyboard tracks, for example, I will frequently make significant, crossover-style EQ choices that allow me to more subtly combine the unique elements of each signal type.Īnother technique that can be used with remarkable ease is one I dubiously call “Sum and Amp-ness”. This conflict can often be resolved by creating more contrast between the original and re-amped signals. In these cases there’s usually something unique about each signal, but they may not be working together well. Sometimes it can be difficult to decide whether the original signal should be used in combination with the re-amped signal. Regardless of your choice of tool, remember that relative phase is a subjective tone control in this setting. This allows the mic to stay in the spot you liked the most. Used as the re-amping adapter or after the mic pre-amplified return, these devices provide sweepable electronic control over relative phase. Phase ‘alignment’ tools, like the IBP from Little Labs. ![]() This can be particularly apparent with signals that have complex midrange harmonic content. For many signals, moving the microphone back and forth along the pick-up axis will reveal a dramatic range of tonal difference. There are two great options for addressing the relative phase of these two signals (options that put a polarity switch to shame): If your goal is to use the amps and pedals as signal processors, the adapter ought to facilitate that work, not pile on its own distortion. ![]() However, the passive DI fails to simply supply a properly adapted signal. That’s not to say you can’t get the signal flow happening with a passive DI and an adequate amount of attenuation. These are important characteristics of inductive systems. The same cannot be said of a typical passive direct box. The purpose-built re-amping devices (most of which are derivative of John Cuniberti’s early 1990’s design) have the distinct advantage of being designed to operate in the amplitude and impedance ranges typically found in +4dBu pro audio and the instrument amplifier world. A purpose built adapter, like the ones made by the company called Reamp, or Radial Engineering or.The biggest factor in managing the gain staging of your re-amping signal chain is your choice of adapter. Gain StagingĪs pictured above, the re-amp process requires us to adapt the balanced, relatively low impedance output from our DAW to the unbalanced, high impedance input of the amp or pedal(s) in question. Here are some ideas about how to get the most out of the re-amping process. In any case, if the goal of the process is amp-related, you can be sure it is also more or less distortion-related. Other popular uses include adding some grit to a direct bass track, rescuing underwhelming keyboard sounds, or using your favorite stomp boxes as outboard processing. During mixing the direct guitar track (sans faux amp) will be re-recorded through an actual amp. An electric guitar can be recorded direct while monitoring a software amp simulator. Instrument amplifiers and stomp boxes offer virtually limitless opportunities to create the right sound with a not-so-virtual interface. ![]() ![]() Direct recording is an ideal way to reserve tonal flexibility for mixing (especially useful in the DIY world).The technique’s obvious advantages are numerous: Re-amping is a technique that gained a lot of popularity in the last 15 years. ![]()
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