A bi directional ribbon mic not super close to the speaker can make it sound more 'like you're there' without potentially gunking up the recording with room mics or reverb. I had really good luck with that once with a Royer 121: it sounded wide open despite being a one mic, one track overdub.

have you ever tried this method, consisting with 2 delayed room mics? If it works for drums, would it work for amps?

Hello,getting depth with drums may be "easy" because of the multiple parts of the instruments and how they sound different. The number of microphones, the acoustic of a room, and if you don't compress the instrument strongly, it takes its place naturally with this 3D sensation.But dealing with amps, seems to be way harder to reach this 3D sensation especially when recording in a dead room. How do you make your guitar amps sound deep? Room mics? digital reverbs or delays? How was it recorded (and mixed) for in utero?

I thought from the thread title you were asking about bassy low frequencies, but I realize you actually mean depth in the spatial sense.I think if you listen carefully to many records they're often not deep at all, but quite flat and up front. This has its advantages in terms of clarity and your soundfield, but it shouldn't be some kind of hard rule. Plenty of great records have more space in the guitars than the percussion, so I guess contrast is king.Anyhow, when I do want depth in the guitars, more importantly when there's an arrangement spacious enough for that to happen it's usually like you're thinking through some natural room ambiance, the delay from more distant mics, and occasionally effects.You're right, a dry room won't get you much reverb but it can get you delay combined with a second signal that has a pretty different fingerprint than your close mic. In an overdub situation, I often have a room mic up with tons of compression on it solely for the purpose of communication. Once in a while that severely compressed channel gets recorded because I realize it's doing something complimentary to the part. Usually this gets panned somewhere different than the clean guitar.Should you find yourself using reverb in the box, I'd encourage experimentation with eq'ing the send to the reverb unit. Sometimes the most complimentary reverb comes from extreme cutting of several frequencies. This can get rid of murkiness, and along with panning give a sense that the secondary sound your hearing is more distinct from the source. Oh yeah, and playing with predelay makes a huge difference in the sense of space. Bigger predelay seems to read like the amp is close, but making an impression on a distant wall, no predelay makes it seem generally further away.That's my $0.02, but there are a million ways to deal with this question, and I'm curious to see what others have found.