fake track bleed

e unum pluribus

e unum pluribus

New member
has anyone that just records just themselves recorded with your monitors playing instead of headphones in order to get a more organic/live (more than one person playing at a time) sound???
 
You can achieve thee same effect with a ver slight delay on whatever you want to make sound like it's more than one person. Or you can just double the part...
 
Newbie dude said:
You can achieve thee same effect with a ver slight delay on whatever you want to make sound like it's more than one person. Or you can just double the part...
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no i mean make it sound like more than one person playing all the instruments not just one track... like a band playing live... add more .... air? ...

like jazz...
 
I've heard of it being done pretty regularly with a drum kit, but not a whole mix. There's no law banning it, so give it a whirl. Unless your room sounds real good, I wouldn't hold out much hope though.
 
SouthSIDE Glen said:
Can you say "feedback loop"?

I knew you could. :)

G.
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yeah i could see where feedback would be a problem but it might be that the slight (almost inaudible) feedback might act more like a harmony...
 
You may want to simply "reamp" the room. I think that's what you're asking.

I actually plan to try this at some point. You'll need to disable direct monitoring, if at all possible (do not allow the mic signal to pass through the montiors/speakers) play the source and just mic "the room".

One of the auditorium lobbies at our college has a wonderful natural reverberation.
It would not be ideal to physically record in the room, so I plan to try this out sometime.
 
I think he just means having a bit of the mix leak into the vocal mic as he's doing a vocal track. I've done this by mistake many times (doing a vocal track and then taking off the headphones only to realise I left the speakers on at a low volume). I've actually been tempted to keep it at times. Especialy nailing a track and realising I have to do re-do it. I always have re-done it though, knowing I don't have the experience to start dealing with stuff on that level, though.
 
Alexbt said:
You may want to simply "reamp" the room. I think that's what you're asking.

I actually plan to try this at some point. You'll need to disable direct monitoring, if at all possible (do not allow the mic signal to pass through the montiors/speakers) play the source and just mic "the room".
Click to expand...

yep i have done this.... i acually posted how to get a usb midi recording on your track using this method(i called it "poor man midi")... micing the monitors with the mix playing...dont want to deal with midi...this is what gave me the idea...

and i never use direct monitoring anyway (too many problems for me)...
 
yes, re-amping. We use it frequently to create natural, and subtle delays and room reverbs. You can achieve a more dramatic reverb using re-amping by placing a speaker cabinet in one end of a long hall way or stairwell, driving it with a poweramp fed by one of your aux sends, with a microphone at the other end of the hall. Experiment with the distance between the speaker and the mic. And for a very unique effect on high freq. source material, re-amp once, then send the original track and reamp track through and reamp that, changing distances between each successive take. After say four or five runs, each time sending the sum of all prior tracks through, you will have a bizzaro effect.
 
I'm gonna take y'all off the subject of reamping for a moment.

As I read the original question, it struck me that I did this wonderful experiment with "monitor feedback as ambience".

Way back in 1990, I recorded this Bowie cover. Part of my deliberate technique was to skip the headphones, and use live monitors while overdubbing. I found that if I kept it just at the hairy edge of feedback, it gave a ringing ambient reverb sort of effect. Anyway, it was a short lived technique, being used for only one song. The technique worked to my overall satisfaction with expected results, but I was just a tiny bit overzealous with the feedback on one track,... the guitar track (IIRC).

Anyway, there is a definite and slight ringing feedback that's more noticeable at first, but it doesn't seem so awful once the song commences in full swing. I'll restate that the feedback was deliberate, as an experiment to squeeze an ambient effect out of the playback monitor while overdubbing.

FWIW, I thought this post and this recording was relevant to the original topic. I don't wanna repeat myself again, so without further adieu, here it is.


"Sound and Vision!"
http://www.soundclick.com/util/getplayer.m3u?id=3416959&q=hi

http://www.soundclick.com/davemania

Thanks! ;)
 
i recently did a bass track this way. the amp was close mic'ed with an akg d112. the only time you could hear the sound from the monitors was when the bass wast at rest. even then, the level was low enough that it did not interfere with the rest of the mix.
 
ive given

some thought to doing stuff like this. I like the way old albums have bleed like the snares rattling while the bass is playing. On Hermans Hermits and Kinks tunes you can hear parts where they muted the bass or whatever for a certain part of the song, but you can still hear it way in the background with that "baffled" sound and it kinda thickens the tune up and i think its preferrable sometimes to just entirely muting tracks.
 
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