A Few Tricks Some Of Which If I Tell You…I’ll Have To Kill You - EMusician

A Few Tricks Some Of Which If I Tell You…I’ll Have To Kill You

36 Set four effects buses to four different delay units, each getting progressively longer. Equalize the returns of these delay units totally differently, such as getting smaller and smaller by filtering each more narrow as the delay gets longer. Great for solos and vocals. 37 Take a radio or a television and tur
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36

Set four effects buses to four different delay units, each getting progressively longer. Equalize the returns of these delay units totally differently, such as getting smaller and smaller by filtering each more narrow as the delay gets longer. Great for solos and vocals.

37

Take a radio or a television and turn it to a NON channel so it’s white noise. Run it through a gate and use the snare drum as the key input. Adjust the gate so the snare triggers a white noise tale. You can adjust the length of this tale and it works better than reverb to give the snare some depth. You will have to equalize the white noise to change its character.

38

Burn a cigarette hole in the bottom head of a snare drum to reduce boing. [Clear this with the drummer first!]

39

Put a lavalier mic [dynamic] inside the snare drum. You may have to cut and resolder the cannon connector to get it in.

40

Use a second Bass drum shell [with the heads taken off] in front of the Bass drum to act as an extension shell. Put a big diaphragm condenser mic in front of the second shell as well as the normal inside mic.

41

Flip the phase on the tom mics or the overhead to create more 3-D in the drum set. Also experiment with phase flipping on under or over snare mics.

42

Assign typically a percussion part [such as tamborine] to a reverb or effect send. Adjust the level of the send and then put the send into “PRE”. Pull the track all the way down and off. What you’re left with is just the effect return. This is good for creating 3-D space in the mix. Great for strings or organ.

43

Put a lavalier mic [like a Sony ecm 50] inside of an acoustic guitar. You can rig up a holder with a large paper clip and some duct tape. Suspend it so it faces the strings from the inside. Gives the acoustic a stringy sound.

44

For great guitar distortion, take a Fender piggyback amp like a Bandmaster and unplug the cord from the “speaker “ output in the back. Plug it into the “extension speaker” output. You must turn the amp up all the way as it will be extremely quiet. Use a condenser mic and boost the gain you can hear the signal. You will get a very powerful electric guitar sound this way.

45

Take a piece of gear with knobs and meters on it, like something that tunes in old satellite dishes. Scrape or somehow erase all the writing in it. Set it up next to your other outboard gear and pretend you’re adjusting it sometimes. No one will know what the hell it is and you’ll get hired because you’re the only one with that piece of gear.