The action of re-recording has been acclimated throughout the history of recording studios. Pierre Schaeffer in the 1930s and 1940s acclimated recorded sounds, such as trains, and played them aback with ambient alteration, re-recording the net result. Karlheinz Stockhausen and Edgard Varèse after acclimated agnate techniques.1
Les Paul and Mary Ford recorded layered articulate harmonies and guitar parts, modifying above-mentioned advance with furnishings such as ambient reverb while recording the net aftereffect calm on a new track. Les Paul placed a loudspeaker at one end of a adit and a microphone at the added end. The loudspeaker played aback ahead recorded actual - the microphone recorded the consistent adapted sound.
Roger Nichols claims to accept acclimated a guitar re-recording action (not about-face DI) in 1968, partly to advance the accent on cranked tube amps beyond assorted amps, one at a time. A complete would be dialed-in for several hours on one cranked guitar amplifier, and if this accent audibly wore down the amplifier components, addition amplifier would be acclimated to almanac the actual work.
It's been acclaimed that Phil Spector, re-mixing the aboriginal Beatles’ Let It Be adept tapes in 1970, may accept re-recorded dry electric guitar affairs through a guitar amplifier.
Film complete re-recording is a accustomed practice. Complete artist Walter Murch is accepted for a address alleged "worldizing" in which "real world" ambient is added, via re-recording, to dry recorded program. Complete artist Nick Peck describes the worldizing process: "Place a apostle in a allowance or area with the adapted aural fingerprint and position a microphone some ambit from the speaker. Next, play aback your aboriginal sounds through the apostle and re-record them on addition recorder, capturing the complete with all the alveolate characteristics of the space. This requires abundant time and effort, but if alone the a lot of accurate reproduction will do, worldizing can get you there."2
Les Paul and Mary Ford recorded layered articulate harmonies and guitar parts, modifying above-mentioned advance with furnishings such as ambient reverb while recording the net aftereffect calm on a new track. Les Paul placed a loudspeaker at one end of a adit and a microphone at the added end. The loudspeaker played aback ahead recorded actual - the microphone recorded the consistent adapted sound.
Roger Nichols claims to accept acclimated a guitar re-recording action (not about-face DI) in 1968, partly to advance the accent on cranked tube amps beyond assorted amps, one at a time. A complete would be dialed-in for several hours on one cranked guitar amplifier, and if this accent audibly wore down the amplifier components, addition amplifier would be acclimated to almanac the actual work.
It's been acclaimed that Phil Spector, re-mixing the aboriginal Beatles’ Let It Be adept tapes in 1970, may accept re-recorded dry electric guitar affairs through a guitar amplifier.
Film complete re-recording is a accustomed practice. Complete artist Walter Murch is accepted for a address alleged "worldizing" in which "real world" ambient is added, via re-recording, to dry recorded program. Complete artist Nick Peck describes the worldizing process: "Place a apostle in a allowance or area with the adapted aural fingerprint and position a microphone some ambit from the speaker. Next, play aback your aboriginal sounds through the apostle and re-record them on addition recorder, capturing the complete with all the alveolate characteristics of the space. This requires abundant time and effort, but if alone the a lot of accurate reproduction will do, worldizing can get you there."2
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