Recording Sat, November 22, 2008
Summary
Tape Op is an independently published magazine that is superb at presenting the creative aspects of recording music, under the guidance of Larry Crane. Learn more about Tape Op here.
Colin Odden has worked out some recording techniques that might seem unconventional at first glance, yet they’ve proven to be highly effective.
Enjoy his creativity in coming up with ways to achieve “certain sounds” by using common (and largely not recording related) items in uncommon ways.
And, you might consider deploying some of these techniques in your next recording project, as well as coming up with some novel methods of your own.
Two Mic Phasing
This requires two microphones. Start by putting an instrument amp in middle of room or a couple feet out from a wall. Use mic 1 to mic this amp’s speaker directly.
Next, hang a relatively directional mic 2 from a stand or the ceiling above another amp that’s out in the room.
While playing, swing the mic 2 over its amp, either front to back, side to side, or (my favorite) in a circle above the amp.
The phasing effect is often at a lower frequency than you can get from an effects box, and it doesn’t have the characteristic grainy electronic sound of a processor.
Furnace Reverb
I’ve never been satisfied with electronic reverbs, particularly the ones I can afford for my own work.
Using a PZM (Pressure Zone Microphone) or omni (omnidirectional) mic in a stairwell works nicely, but recently I found that mic’ing a furnace register upstairs - with performers playing downstairs - produces a great “canned” reverb sound that was really entertaining.
Another time I recorded a punk band in the basement with a distant ambient PZM taped to the body of the furnace.
I don’t recommend this latter method for anything other than a very overt effect.
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