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Old 18th June 2009 | Show parent
Originally Posted by View Post
Fantastic info. I've often considered doing this to create an orchestral effect on a budget - glad to know it can be done so well.

Two follow ups re Disarm if you can:

1) How was the acoustic tracked? Was it doubled or just one layer? Stereo/mono miced and what mics?

2) When bouncing down the strings, how did you pan? My instinct would be to have the staccato cellos all down the center since there's no bass guitar, or did you hardpan doubles for width? For the two violin melody parts I could imagine hardpanning one melody to each side, or alternatively spreading the copies evenly across the field to emulate having two full violin sections side by side.

Any further clarification would be appreciated.

Thanks yet again.
The Acoustic was Billy's Ovation (not my favorite to record). I really don't remember the mic, it may have been the tube 47 or even an AKG 414. I know we spent a long time getting the sound because Ovations just don't record well for me. Billy actually got tired/frustrated because of the time issue that he had James Iha play for a bit. When we finally were set on the sound, Billy went back in the booth and the guitar sounded totally different. The thing I learned with that was because Billy is a big guy and James was not, the guitar resonated more with James. By Billy hunkering down over the gtr, it made it darker and less resonant. We had dialed the sound in for James' playing style. Very frustrating in the end and I still don't like the sound of that acoustic on the record.

I can't really help you out with the string bouncing...I really don't remember. There were probably 2 stereo pairs and 2 mono but I'm not sure. Though the record came out in '93, we tracked it in '92, so 17 years later, my memory of all details fails me.