Quote:
Originally Posted by yep
Nearfield close-miking opens up a world of opportunities in this respect. We can zero in on the sharp "thump" of a kick drum and make it feel like a punch in the chest for an uptempo club track, or we can stretch it and compress it to sound like distant thunder for a slow mournful ballad. We can take a poppy, bouncy snare and turn it into a gated, white-noisy industrial explosion or we can subtly lift up the decay to get a sharp, expressive, woody crack. We can flatten out the guitars and shove the Celestion greenbacks right into your ears. We can get the bass to pump the speakers and we can make the piano plunk and plink a whole new backbeat.
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I'd like to learn more about how to do this. For instance I have a (live) recording of a snare that has a lot of ring and bounce to it without that "sharp, expressive, woody crack" and would like to learn how to change that.