After some critical listening back to Blessed Black Wings, I think that s also bass panned some to one side and guitar to the other, with some room mic filling in the space, or at least carefully spread close mics for each instrument.

If you want it to sound 'natural' and as though you're playing live, a good trick is to split the bass signal when you record. One track is the low end of the bass and the other is a mic on the cab/amp.When I've done this I've had the bassist go into a Sansamp DI box and then out to their pedals and the amp. The Sansamp gives me a fairly neutral low end sound and the cab gives me the grit. When mixing it chuck the DI bass in the middle of the stereo picture and the mic'd bass (with some low end rolled off) in the opposite side to the guitar. The band LAMPS have some recordings that use this to good effect. It's still a little lop-sided but then so are most 3 pieces when you stand and watch them on a big stage through a PA.

On it being "Disorienting"...Are we talking:- "While it's an approach I think could be what I settle on, it's currently throwing me off."?- "When I hear it, I feel like a vampire that just wandered out into the sunlight!"?

Gr3g wrote:To clarify, I m not necessarily after œrealism per se, as much as streamlining workflow and economy of equipment. œRealism as a by product is fine or not, I think the source would dictate. For example I have 16 inputs, and will need to make choices between direct or mic, more drum signals at the expense of guitar or bass signals etc. Sub-mixing may or not be an option, yadda yadda you get the idea. I'm probably over-thinking this; I've been listening to the Ramones and there doesn't seem to have been a whole lot of fuss made over the stereo field in the final results. Sounds pretty straightforward with 50% guitar right and 50% bass left. I'm venturing a guess Shellac copped that aesthetic on purpose.Anywho, thanks for all the suggestions, I'm definitely going to try them where applicable.On that front, do you feel like there are any elements that you could drop/alter to free things up for other possibilities?Also, here's a related thread. There could be some things in there that might play into what you are doing.- http://www.electricalaudio.com/phpBB3/viewtopic.php?f=5&t=66249&hilit=session

Helmut Haas. The Haas Effect.

try delaying one side of the guitar 30-35ish msec or so. should open up the middle quite a lot for bass and drums and vox.

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I think figured out what I was after with some experimenting. In short, drum mics mixed to balance, bass center or slightly off center and guitar spot mic on one side and ambient mic on the other As long as care is taken to make sure phase is mono compatible, playing with the ambient mic placement and side panning is the key.

tmidgett wrote:Also think room sound on bass is underrated.Perhaps because it potentially opens up so many problems with standing waves if you're in a less-than-professional environment.

I was including stereo in œambient , for ease of explanation. I have to agree that wIth care and in the appropriate setting stereo seems to be the most satisfying result, especially for distant sounds.