agree with stomper, get a Convolution Reverb, download some Impulses from the net,
i have several collections: from Churches to Cathedrals, Halls, Auditoriums, Stadiums, Studios and also Kitchens, Living Rooms, Stairs...Hoovers, Washing Machines....
Try this and adjust carefully your Dry/Wet ratio
Hope it helps!
Reverb by recording speakers in a big room
http://www.myspace.com/mantegaman
life was easier with tapes
life was easier with tapes
This is a great idea, there are just a few, pretty important downsides. First, you need a space that sounds good, no point in recording bad sounds, you could just as well use a cheap reverb then. Second, you need a variety of mics and preamps, so that you can get different tones and choose the combination that suits your music best. Third, it's not as easy as it sounds. Micing up stuff is not that easy, if you want professional results.
This is definitely something I want to do in the future though, when I got a space I can customize to suit recording a bit better than a typical bedroom.
This is definitely something I want to do in the future though, when I got a space I can customize to suit recording a bit better than a typical bedroom.
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That's basically how they recorded the drums to When The Levee Breaks. If anyone recorded that impulse response they could make a fortune.clubfoot wrote:sound-source at the bottom of a stairwell - mics at the top
Q: When people talk about drum sounds, they often refer to Led Zeppelin and "When the Levee Breaks" in particular. It wasn't all down to John Bonham's playing as producer. You knew what he wanted to hear.
Jimmy Page: Having worked in the studios for so long as a session player, I had been on so many sessions where the drummer was stuck in a little booth and he would be hitting the drums for all he was worth and it would just sound as though he was hitting a cardboard box. I knew that drums would have to breath to have that proper sound, to have that ambiance. So, consequently we were working on the ambiance of everything, of the instruments, all the way through. I guess this is the high point of this album. You've got something like "When the Levee breaks" which was with Bonzo in the hall and on the second landing was a stereo mike and that's all there was. But that whole drum sound and all this ambiance is now captured digitally in the machine. Where we would do it that way, you have now got it in machines. I think we set a trend with all of this.
http://www.led-zeppelin.org/reference/i ... z0cWSjpnyc