With strong entrepreneurial and musical backgrounds, Dorsainvil worked for many years in music production and Dickenson spent many years as a professional video producer in New York. ReAmp was initially owned by Krazy Bone of Bone Thugs–N- Harmony and built by Steven Perkins with the construction process being documented by Pro Audio website Gearslutz. ReAmp offers a variety of recording, mixing and artist development services, and will continue to focus on providing unsigned, independent and major label clients a top tier experience at competitive pricing. Local entrepreneurs Sharifa Dickenson and Bobby Dorsainvil made the decision to purchase ReAmp out of their passion for music, family and desire to scale the recording studio's business to new levels. The ReAmp team invites friends, family and local media to a special invite-only event on to kick off new ownership and expanded studio offerings. The professional recording destination remains in business daily, and has exciting plans for growth in 2017. ApPRLog - ReAmp Recording Studios has announced their sale and upcoming grand re-opening celebration of their thriving studio in Southern California. Using a transformer helps eliminate ground noise transformers allow signal to pass from the input to the output without a direct connection between the grounds.Īt the end of the day, reamping is a valuable tool that allows engineers to create new and interesting layered tones, help fill out a mix, or free up time to focus on a musicians’ performance.ReAmp owners Sharifa Dickenson & Bobby Dorsainvil TUSTIN, Calif. Radial’s Reamper uses a passive design with a custom wound transformer and circuit. It features both XLR and ¼” TRS input connectors, variable output level, and a three-position filter that lets you tame excessive highs, warm up the lows or simply bypass if you want to revert to the original circuit. At Hybrid Studios, we like to use Radial’s JCR Studio Reamper. To solve these issues typically a reamp box is used. In addition, connecting the two systems directly can also create a path for noisy ground currents to flow into the audio paths. Conversely, most amps are designed for low-level, unbalanced, high-impedance signals, so patching right from pro-audio to guitar gear can cause an impedance mismatch. Professional recording equipment uses a high-level, typically balanced, low-impedance signal. ![]() In other words, you can focus on the performance while the musician is at his or her best and then take your time to reamp something by moving microphones around the room, changing amps or adding effects as needed after the performer has left. Another reason you might want to reamp something is the flexibility it gives a production team to focus on the performance rather than the tone. By playing a dry signal through an amplifier and then using room mics to capture the ambiance, engineers are able to create new layers and blend wet signals with the original dry recording to achieve a new sound. Typically, the goal when reamping is to “warm up” dry tracks, which often means adding complex, musically interesting layers. ![]() You might reamp a track to add amplifier distortion, EQ, compression, or natural reverb. To reamp in studio means to take a recorded track, played out of a speaker, and re-record it using different microphones and mic placements to achieve new tones.
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