I love this forum! I've learned a hell of a lot. I'm still a total greenhorn, but I'd be much worse off without all of you. Now I've got a question. I just got an Apogee Duet to run into Garageband, and was playing around with drum sounds, mic placement, etc., with The Greatest Drummer In The World (seriously; I'm his ex-bass-player, and loved playing with him). The economics of where we live being what they are, his kick drum beater head is totally shot (his front head was just split, too, by a live sound guy sticking a mic inside it), so I was getting a pretty anemic sound out in front. His crash and ride cymbals are cracked, so we left those in the car, leaving just kick, snare, floor tom, and hat (he wants a new head for his snare, too). I put my SM58 on his side of the kick, between the floor tom and the pedal, pointed at the beater, and my SM57 up high, about four feet up, pointed straight down at the snare (these are the only two mics I've got right now, unless you count the karaoke mic my sister-in-law gave me that someone threw at her for free). Decent sound. He liked it. I liked it. His exact words were "It's definitely lo-fi, but in a Beastie Boys kind of way." So, it was OK. I messed around with it a little after he went home. I duped the kick track, put a lowpass filter on it at 500 Hz, and, just for shits and giggles, ran it through my Acoustic Image Contra bass amp. For those who aren't aware, the AI uses split speakers, a 10 inch downfiring woofer and a 6 inch (I think) front-firing tweeter (I highly recommend them for any gigging upright bassists- they sound great and take lots of abuse- I've accidentally poured at least two beers into mine, and it seems to sound even better). I put the 58 up close against the tweeter and the 57 about 2.5 feet back. The close 58 was a little woofier, which I liked at first, but came to prefer the thwackier sound of the farther back mic. Seemed to bring the tom out a little more, too. It was promising enough mixed into the original kit that I did the same thing on the overhead track, this time with a hipass on @1200Hz and a lowpass on @5200Hz, through the AI and into the 57 about 2.5 feet from the tweeter. Result: A much "fuller" drum sound. It wasn't perfect by a long shot, but it's food for thought for me, given my (low) experience level and what I've got. But I like to know the fundamentals behind the results, and I'm almost totally ignorant about what's going on on a physical level. So: The duped, filtered tracks, when mixed with the live drums, sounded, well, plastic. Processed. A little too obvious. But the reamped tracks sounded Good with the others. When you take these plastic, processed tracks and put them through a speaker, what, exactly, are you getting? Does running them through a speaker "bring back" the harmonic overtones you've just mercilessly removed? Does the speaker take the woofy, thuddy, processed sound and, through its physical action as a speaker, "automatically" generate overtones, like a good acoustic guitar "automatically" generates certain characteristics no matter what hamhanded incompetent schmuck is playing it? Or is this just an incomprehensible example of the beneficial aspects of pushing a soundwave through actual air? Or am I asking the wrong question?