Many home studios use drum sequences and samples to cope with the space and volume limitations that prevent properly recording acoustic drums. To give a drum mix a more lifelike sound, you can simulate the effect of using overhead mics. Set up two microphones (pencil condenser mics work well for this technique) in a stereo configuration to record a playback of the drum tracks. Turn the "overhead" mic tracks off in the mix to avoid feedback. Once you have recorded the tracks, add them to your original mix to give a more coherent sound.
Electric bass is often recorded via direct injection (DI) into a recording system. For an easy way to add depth to an electric bass track, record both DI and through a miked amplifier simultaneously. When you have a satisfactory performance, pan each track hard left and right and add a short delay (between 17 and 35 milliseconds) to one track only. Doing so frees up the center of the stereo image to highlight vocals while adding excitement to the sound of the bass.
With an abundance of free tracks, layering acoustic guitar is easy, though sometimes a synchronized performance taxes a musician. If the acoustic guitar has a built-in pickup for live playing, send it to an extra track along with a microphone signal. While the pickup sound will not be natural, you may find it suitable to add effects. Panning away from the miked guitar track may add depth and spread to the acoustic sound while requiring only one take from the performer.
Multieffects units and pedal boards can give tone to an electric guitar signal without an amplifier using the DI method --- often carried out in a home studio to keep from disturbing others. Try "re-amping" to add body to the track. Assign the recorded part to an output, and connect the output to a guitar amp. Set up a mic, and record the playback of the track, as with the overhead drum mic technique.
Most DAWs and software allow for quick patching of tracks. When recording a backup vocalist, have her run through the same performance three or four times and record each pass to a new track. The slight differences between each line will create natural chorus effects. Repeat this step for each part of a three-part harmony, and you can have a 12-voice choir in no time at all.