А вот не краткая
Много буков, но интересно !
К сожалению, просто ссылка не получилась:-(
THE HISTORY OF RE-AMPING
We recently looked into the history of re-amping and were
amazed at the response we received by asking around.
These are brief historical accounts and letters we received.
Many thanks to Frank Wells at Pro Sound News and Mitch
Galagher at EQ magazine for helping us track down these
folks.
When we asked recording historian Doug Mitchell 1,
Associate Professor at Middle Tennessee State University the
question: ‘Who invented re-amping’. Doug gave us this reply:
The process of “re-amping” has actually been utilized since
the very first days of recording in a variety of methods.
However, the actual process utilized may not have been
referred to as re-amping until perhaps the late 1960s or
1970s. From the early possibilities of recording sound
various composers and experimenters utilized what might be
termed “re-amping” to take advantage of the recording
process and to expand upon its possibilities. In 1913 Italian
Futurist Luigi Russolo proposed something he termed the “Art
of Noises”. Recordings of any sound (anything was
legitimate) were made on Berliner discs and played back via
“noise machines” in live scenarios and recollected on
“master” disc cutters. This concept was furthered by Pierre
Schaeffer and his “Musique Concrete” electronic music
concept in the 1930s and 1940s. Schaeffer would utilize
sounds such as trains in highly manipulated processes to
compose new music ideas. These processes often involved
the replaying and acoustic re-recording of material in a
manipulated fashion. Other experimenters in this area
included Karlheinze Stockhausen and Edgard Varese.
With the possibilities presented by magnetic recording the
process of what might be termed re-amping was utilized in
other “pop” music areas.
Perhaps the first person to take
advantage of the process was Les Paul. His recordings with
Mary Ford often utilized multiple harmonies all performed by
Mary. Initially these harmonies were performed with the re-
amping process. Later, Les convinced Ampex to make the
first 8 track recorder so that he might utilize track comping to
perform a similar function. Les is also credited with the
utilization of the re-amping process for the creation of
reverberant soundfields by placing a loudspeaker at one end
of a long tunnel area under his home and a microphone at the
other end. Reverberation time could be altered with the
placement of the microphone with respect to the loudspeaker
playing back previously recorded material.
Wall of sound pioneer Phil Spector is perhaps the most widely
accredited for the use of the reamping process and because
of his association with the Beatles is potentially regarded
today as the developer of the process. However, Phil was
actually refining a process, which had been utilized for
decades, and exploring its possibility for use in rock music.
The process of “re-amping” is often used in film sound design
as well. In order for sounds recorded in a post production
environment to match the scene, it is common for them to be
re-recorded utilizing a reamping procedure. In film sound this
process is also termed “worldizing”.
The first use of the term “re-amping” is vague. It may have
come into the recordist’s vocabulary as early as the late
1960s, but I am not sure when the term was first utilized.
We then posed the same question to Bob Ohlsson 2 of
Mowtown fame, (Stevie Wonder, Marvin Gaye, Kinks,
Animals, Donovan, Herman’s Hermits) and Bob kindly
answered:
I began doing it in 1968 shortly after we got the sixteen-track
machines because for the first time we could separately
record direct guitars, clavinets and electric pianos. I had
never heard of it being done and am pretty sure I was the
first to try it at Motown but I can’t imagine lots of others
weren’t doing the same thing. It seemed like a very obvious
thing to do in a world where electric instruments were taken
direct primarily to cut down on bleed rather than for tonal
quality.
We then contacted Roger Nichols 3 (Steely Dan, Crosby Stills
and Nash, John Denver, Roy Orbison, Zappa) and when
posed the question: “Roger, I know you have been re-amping
for a while, when did you start using this process?”
That would be 1972 when I built the re-amper we used on the
first, and almost every Steely Dan album after that. We used it
to play direct guitar tracks back through an amp. We were
going through a lot of amps. The speakers would get tired or
the tubes would melt or something during a night of guitar
overdubs.
We would go through one amp to make sure we got the
sound we wanted, and then when the right guitar and
settings were locked in, we recorded the direct signal and let
the amp rest. After the part was completed, we ran the signal
back through the guitar amp and it only had to last long
enough to print the results to tape. I still have the box around
here somewhere.
Interesting enough, in 1980 Jensen Transformers introduced
the JT-DBE transformer and in the application note, there is a
complete paragraph discussing the use of this transformer to
convert low impedance balanced lines to guitar levels. This
same application is mentioned in the Radial JDI direct box
owner’s manual and referred to as ‘using the JDI backwards’
.actually refining a process, which had been utilized for
decades, and exploring its possibility for use in rock music.
The process of “re-amping” is often used in film sound design
as well. In order for sounds recorded in a post production
environment to match the scene, it is common for them to be
re-recorded utilizing a reamping procedure. In film sound this
process is also termed “worldizing”.
The first use of the term “re-amping” is vague. It may have
come into the recordist’s vocabulary as early as the late
1960s, but I am not sure when the term was first utilized.
We then posed the same question to Bob Ohlsson 2 of
Mowtown fame, (Stevie Wonder, Marvin Gaye, Kinks,
Animals, Donovan, Herman’s Hermits) and Bob kindly
answered:
I began doing it in 1968 shortly after we got the sixteen-track
machines because for the first time we could separately
record direct guitars, clavinets and electric pianos. I had
never heard of it being done and am pretty sure I was the
first to try it at Motown but I can’t imagine lots of others
weren’t doing the same thing. It seemed like a very obvious
thing to do in a world where electric instruments were taken
direct primarily to cut down on bleed rather than for tonal
quality.
We then contacted Roger Nichols 3 (Steely Dan, Crosby Stills
and Nash, John Denver, Roy Orbison, Zappa) and when
posed the question: “Roger, I know you have been re-amping
for a while, when did you start using this process?”
That would be 1972 when I built the re-amper we used on the
first, and almost every Steely Dan album after that. We used it
to play direct guitar tracks back through an amp. We were
going through a lot of amps. The speakers would get tired or
the tubes would melt or something during a night of guitar
overdubs.
We would go through one amp to make sure we got the
sound we wanted, and then when the right guitar and
settings were locked in, we recorded the direct signal and let
the amp rest. After the part was completed, we ran the signal
back through the guitar amp and it only had to last long
enough to print the results to tape. I still have the box around
here somewhere.
Interesting enough, in 1980 Jensen Transformers introduced
the JT-DBE transformer and in the application note, there is a
complete paragraph discussing the use of this transformer to
convert low impedance balanced lines to guitar levels. This
same application is mentioned in the Radial JDI direct box
owner’s manual and referred to as ‘using the JDI backwards’.
True to the Music
In the 1980’s Whirlwind also produced a device that could
accommodate low-to-hi conversion using a transformer.
In 1994, Reamp® commercialized the process by producing a
box that incorporated a transformer and a volume control.
This allowed the user to adjust the volume at the amplifier
instead of at the mix position. In 1996, the 1st generation
Radial™ JDI was introduced.
The first generation Radial JD7 Injector was released in 2001
with a balanced output and input to allow re-amping and
subsequent re-distribution of signals to many amplifiers. In
2004, Radial introduced the Radial X-Amp which is an active
device that allows a pre-recorded balanced signal to drive
two guitar type amplifiers at the same time.
