I'm listening to Carcass - Heartwork on my monitors in the control room and something just crossed my mind.
I read some engineering notes on the album and turns out the cabs were miked using two SM57s, one on the center of a cone, and off to the side on a different cone/speaker. This is confusing me a little because every time I've closed miked my cab (1-4 inches away) it's a pretty 'direct' sound, and I'm talking even moving the cab around into different rooms with, and without treatment, and different wall texturing as well.
It sounds like they've got a slight room mic running on Heartwork, or I'd at least think one a few feet away or so because so much of the room sound seems present. The 57s should reject most of that. I've experimented myself and I've been able to (somewhat) replicate the sound by using short delays with no diffusion panned to the opposite side, and also by throwing a convolution reverb into a program and fooling with the early reflections and cutting off the tail.
What are some of your techniques?
I read some engineering notes on the album and turns out the cabs were miked using two SM57s, one on the center of a cone, and off to the side on a different cone/speaker. This is confusing me a little because every time I've closed miked my cab (1-4 inches away) it's a pretty 'direct' sound, and I'm talking even moving the cab around into different rooms with, and without treatment, and different wall texturing as well.
It sounds like they've got a slight room mic running on Heartwork, or I'd at least think one a few feet away or so because so much of the room sound seems present. The 57s should reject most of that. I've experimented myself and I've been able to (somewhat) replicate the sound by using short delays with no diffusion panned to the opposite side, and also by throwing a convolution reverb into a program and fooling with the early reflections and cutting off the tail.
What are some of your techniques?
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