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Post by jazznoise on Jun 23, 2018 11:22:16 GMT -6
So recently I recorded some new stuff for the band and the mix was fine but lacking something with the bass. I decided to reamp it in a local club we run shows in, so I set up a friends bass amp (2x12,1x15) and what surprised me was how good the ambient mic I threw up for fun sounded. Amazing, actually.
So I spent the next 3 hours moving the ambient mix around, varispeeding the bass to tweak the room sound and the results blew me away. All those heavy bass sounds - Nine Inch Nails type stuff - sound that way.
So I'm wondering:
A) How many of you are doing this?
B) How many of you have used or are trying out varispeeding performances for reamping?
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Post by ragan on Jun 23, 2018 12:00:00 GMT -6
I've always wanted to mess with varispeed a la The Beatles but never really hammered out how to do it with a DAW.
Whaddya do?
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Post by jazznoise on Jun 24, 2018 8:24:06 GMT -6
What Daw are you using? Most of them have the functionality built in somewhere obvious, like in Reaper or Logic, but you can also do it by setting your convertors to a custom sample rate. Simply change the playback rate for recording and return it to normal for playback.
It's a big part of the vocal sound of many big 60s-70s artists. But it's also useful in more mundane ways like putting songs in easier keys for brass or backing oohs. I don't use it all the time, but increasingly for backing vocals and now for sort of 'enhancing' recordings. Even just slowing down a whole song or loop can offer cool possibilities.
But specifically atm I'm looking at it as a means of altering or better utulizing existing acoustic spaces and speaker systems to get results that mighnt be achieved otherwise!
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ericn
Temp
Balance Engineer
Posts: 14,958 
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Post by ericn on Jun 25, 2018 6:28:28 GMT -6
Been playing around with revamping for nearly 30 years, it really helps to have a good room.
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Post by Guitar on Jun 25, 2018 8:51:47 GMT -6
Well like you said in your OP. I have found that miking a bass amp part is going to add a huge amount of girth and size to the bottom of the mix, vs a simple DI track.
This is assuming that the bass amp / rig is worth a shit. And that the mix needs that kind of sound.
Reamping synthesizers is really fun also. Can make a digital synth sound much more "organic" to hit some pedals and a guitar amp.
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Post by adamjbrass on Jun 25, 2018 12:48:21 GMT -6
I LOVE using the ambience of the room when re-amping instruments.
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Post by svart on Jun 25, 2018 12:51:46 GMT -6
I forget which one, but one of the Chili pepper's albums the engineer set up some speakers and mics in a large room to reamp the ambience for the tracks.
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Post by jazznoise on Jun 26, 2018 4:13:32 GMT -6
Well like you said in your OP. I have found that miking a bass amp part is going to add a huge amount of girth and size to the bottom of the mix, vs a simple DI track. This is assuming that the bass amp / rig is worth a shit. And that the mix needs that kind of sound. Reamping synthesizers is really fun also. Can make a digital synth sound much more "organic" to hit some pedals and a guitar amp. I actually had already mic'd the bass cab, I just hadn't done any distant micing as we overdubbed that in my home studio and its pretty dry. So I was just sending it out to a big room to see if it would help, and the ambience is actually what made the big change to me. |
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Post by joseph on Jun 26, 2018 10:28:14 GMT -6
I forget which one, but one of the Chili pepper's albums the engineer set up some speakers and mics in a large room to reamp the ambience for the tracks. What they should have done is re-amp'd Mother's Milk and then just completely lowered the volume of the dry tracks  |
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Post by Guitar on Jun 29, 2018 8:38:56 GMT -6
Well like you said in your OP. I have found that miking a bass amp part is going to add a huge amount of girth and size to the bottom of the mix, vs a simple DI track. This is assuming that the bass amp / rig is worth a shit. And that the mix needs that kind of sound. Reamping synthesizers is really fun also. Can make a digital synth sound much more "organic" to hit some pedals and a guitar amp. I actually had already mic'd the bass cab, I just hadn't done any distant micing as we overdubbed that in my home studio and its pretty dry. So I was just sending it out to a big room to see if it would help, and the ambience is actually what made the big change to me. I generally try to keep my bass tone pretty direct and dry. Even putting a condenser mic in front of a bass cab is already going to sound a bit "roomy" in my experience, sometimes I might even set it to hypercardioid if it's a 9-pattern mic. |
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Post by jazznoise on Jul 2, 2018 9:36:53 GMT -6
I actually had already mic'd the bass cab, I just hadn't done any distant micing as we overdubbed that in my home studio and its pretty dry. So I was just sending it out to a big room to see if it would help, and the ambience is actually what made the big change to me. I generally try to keep my bass tone pretty direct and dry. Even putting a condenser mic in front of a bass cab is already going to sound a bit "roomy" in my experience, sometimes I might even set it to hypercardioid if it's a 9-pattern mic. I find it hard to imagine that your actually hearing room ambience at that distance, even in an extremely reverberant space. Try this way out, add a room mic. Listen to a song like NiNs The Hand That Feeds, it's the room mic giving it that sound. |
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Post by Guitar on Jul 2, 2018 9:46:05 GMT -6
I generally try to keep my bass tone pretty direct and dry. Even putting a condenser mic in front of a bass cab is already going to sound a bit "roomy" in my experience, sometimes I might even set it to hypercardioid if it's a 9-pattern mic. I find it hard to imagine that your actually hearing room ambience at that distance, even in an extremely reverberant space. Try this way out, add a room mic. Listen to a song like NiNs The Hand That Feeds, it's the room mic giving it that sound. Well I'm just telling you what I heard here. Cardioid picks up some side information. The spider shockmount makes the mic back a couple of inches from the cab. The depth of a bass speaker is also several inches in the case of a 15" from the grille to the center of the dust cap/cone. So we're already talking a 6 inch distance I would say. Moving the mic to supercardioid tightens up the side pattern and gets a more close sound. The cabinets are in the corner of my room as well so they tend to resonate quite a bit. I did have good luck with a live band type of tracking setup where everything was bleeding into everything else. It was a garage/punky kind of band with a fuzz bass tone and the room sound on the bass was pretty suitable in the mixes. In general the fuzz bass tone seems to lend itself to reverb/room sound I would say. Kind of like this NIN stuff (except he's a way better songwriter than my mates were LOL.) |
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