Cannibal corpse what pups?
- Thread starter N_schon
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Archer_of_Fish
New member
Re: Cannibal corpse what pups?
As long as they are soaked in the blood of the innocent any pickup set will do.
As long as they are soaked in the blood of the innocent any pickup set will do.
oneblackened
New member
Re: Cannibal corpse what pups?
Emg's. Probably 81-85 or 81-60. I don't think they do the 18v mod.
Emg's. Probably 81-85 or 81-60. I don't think they do the 18v mod.
Christopher Caruana
New member
Re: Cannibal corpse what pups?
EMG's for sure. some black outs or even a custom should do tho
EMG's for sure. some black outs or even a custom should do tho
Time Stood Still
New member
Re: Cannibal corpse what pups?
EMG from Kill to present.
I don't recall the pickups on Pat's Jackson. You might be able to see it on the the making of the Wretched Spawn dvd. Probably EMG.
Jack had stock DiMarzio's on his 7 string Universe. I'm not sure what pickups were on his Anderson guitar but I'm sure they weren't EMG. SD?
The early records sound like DiMarzio and/or stock pickups.
EMG from Kill to present.
I don't recall the pickups on Pat's Jackson. You might be able to see it on the the making of the Wretched Spawn dvd. Probably EMG.
Jack had stock DiMarzio's on his 7 string Universe. I'm not sure what pickups were on his Anderson guitar but I'm sure they weren't EMG. SD?
The early records sound like DiMarzio and/or stock pickups.
hanumanlangur
New member
Re: Cannibal corpse what pups?
Didn't those guys switch to Seths or Antiquities?
Didn't those guys switch to Seths or Antiquities?
Diocletian
BrandNewGlossologist
Re: Cannibal corpse what pups?
Well, Nile use Invaders and, since they are a MUCH better death metal band, maybe you should chase that tone instead?
Well, Nile use Invaders and, since they are a MUCH better death metal band, maybe you should chase that tone instead?
Benjy_26
25's Nemesis
thefallingdarkness
New member
Re: Cannibal corpse what pups?
As far as I know, Cannibal Corpse use the following pickups:
Rob Barrett - EMG 85/81 (all guitars)
Pat O'Brien - EMG 81 (bridge-only Ran signature guitar), EMG 85/81 (BC Rich guitars)
Alex Webster - EMG 40DC/40CS (all basses)
On a side note, Pat's BC Rich guitars are 27 inch baritone scale. Rob accomidates this by using heavier 13-62 gauge strings. Both use Mesa Boogie and Crate amps, with Rob also incorporating Celestion cabinets. Alex uses Ampeg.
As far as I know, Cannibal Corpse use the following pickups:
Rob Barrett - EMG 85/81 (all guitars)
Pat O'Brien - EMG 81 (bridge-only Ran signature guitar), EMG 85/81 (BC Rich guitars)
Alex Webster - EMG 40DC/40CS (all basses)
On a side note, Pat's BC Rich guitars are 27 inch baritone scale. Rob accomidates this by using heavier 13-62 gauge strings. Both use Mesa Boogie and Crate amps, with Rob also incorporating Celestion cabinets. Alex uses Ampeg.
Petrovsk Mizinski
New member
Re: Cannibal corpse what pups?
The bulk of their tone is an amp thing really. They may use EMGs, but in reality you could get that tone using a lot of other pickups.
The bulk of their tone is an amp thing really. They may use EMGs, but in reality you could get that tone using a lot of other pickups.
DrNewcenstein
He Did the Monster Mash
Re: Cannibal corpse what pups?
And the studio engineer and mixing console and outboard studio gear they used, and the live soundguy and board and other gear they used....
Do people really believe these tones are achieved in a straight line of "guitar>amp>CD", or that getting the pickups someone else uses will?
What you're hearing is not their guitars, pickups, and amps captured on disc. You're hearing their guitars, pickups, and amps once they've been processed to fit in the situation (recording or live).
Here's why the pickup you choose will not matter all that much:
The stereo/ipod/walkman/cd player you listen to has its own voice, so you're hearing the stereo's interpretation of the 1s and 0s on the CD which were put there by the duplicating house, who took the 1s and 0s from a digital tape also containing 1s and 0s, which was mastered on a computer that translated electrical impulses into 1s and 0s according to a specific formula that states x impulse = nnnn series of 1s and 0s.
This is driven by a codec (code/decode driver/program). Different codecs translate electrical impulses into 1s and 0s differently, and thus have their own voice.
The digital tape recorder is only repeating what the mastering software told it.
Computer audio hardware is also driven by a codec, and usually, not the same one as used by the mastering program that put those 1s and 0s on the digital tape.
Ergo, that has its own voice, so the mastering software is repeating the what the audio hardware told it.
Mixing consoles (both live and studio) have their own voice, so studio recording computers/live PA systems are hearing the mixing console's interpretation of what's coming through the mic.
PA speakers have their own voice, so in a live situation, you're hearing the speaker's interpretation of what the mixer hears from the mics.
Mics have their own voice, so the mixing console is hearing the mic's interpretation of the sound coming from the speakers in the amp cabinet, each of which has its own voice.
The speakers' voice coil and cone and frame are reacting to electrical impulses from the amp head.
These reactions cause the speaker to flex, which causes the cabinet to vibrate, which then loops back into the frame of the speaker and to the spring-like cone, where certain vibration frequencies are either amplified (doubled, tripled, etc), muffled (halved, quartered, etc), or muted (outgoing frequency meets incoming frequency of the same magnitude and cancel each other out).
The material, material density, and construction of the cabinet influences the cabinet's vibration, and therefore how it is fed back into the speakers. As well, the acoustic properties of the cabinet contribute to the sound the mics hear, which is also colored by the material, material density, and construction of the cabinet.
The sound coming out of the cabinet is a mix of the sound from the speaker itself, the sound that is reflected off the inside of the cabinet and bounced back out the front (where the largest ports are), and the cabinet's vibrational influence on the speakers.
The speakers are translating electrical impulses from the amp head, which is receiving electrical impulses from the pickups in the guitar.
The circuitry in the amp translates incoming impulses to outgoing impulses, and which parts of each impulse are changed along the way, and how they're changed. This is the amp head's voice.
So, the speakers are hearing the head's interpretation of the pickups in the guitar.
The mic is hearing the cainet's interpretation of the head's interpretation of the pickups' interpretation of the vibration of the strings and guitar body.
And the studio engineer and mixing console and outboard studio gear they used, and the live soundguy and board and other gear they used....
Do people really believe these tones are achieved in a straight line of "guitar>amp>CD", or that getting the pickups someone else uses will?
What you're hearing is not their guitars, pickups, and amps captured on disc. You're hearing their guitars, pickups, and amps once they've been processed to fit in the situation (recording or live).
Here's why the pickup you choose will not matter all that much:
The stereo/ipod/walkman/cd player you listen to has its own voice, so you're hearing the stereo's interpretation of the 1s and 0s on the CD which were put there by the duplicating house, who took the 1s and 0s from a digital tape also containing 1s and 0s, which was mastered on a computer that translated electrical impulses into 1s and 0s according to a specific formula that states x impulse = nnnn series of 1s and 0s.
This is driven by a codec (code/decode driver/program). Different codecs translate electrical impulses into 1s and 0s differently, and thus have their own voice.
The digital tape recorder is only repeating what the mastering software told it.
Computer audio hardware is also driven by a codec, and usually, not the same one as used by the mastering program that put those 1s and 0s on the digital tape.
Ergo, that has its own voice, so the mastering software is repeating the what the audio hardware told it.
Mixing consoles (both live and studio) have their own voice, so studio recording computers/live PA systems are hearing the mixing console's interpretation of what's coming through the mic.
PA speakers have their own voice, so in a live situation, you're hearing the speaker's interpretation of what the mixer hears from the mics.
Mics have their own voice, so the mixing console is hearing the mic's interpretation of the sound coming from the speakers in the amp cabinet, each of which has its own voice.
The speakers' voice coil and cone and frame are reacting to electrical impulses from the amp head.
These reactions cause the speaker to flex, which causes the cabinet to vibrate, which then loops back into the frame of the speaker and to the spring-like cone, where certain vibration frequencies are either amplified (doubled, tripled, etc), muffled (halved, quartered, etc), or muted (outgoing frequency meets incoming frequency of the same magnitude and cancel each other out).
The material, material density, and construction of the cabinet influences the cabinet's vibration, and therefore how it is fed back into the speakers. As well, the acoustic properties of the cabinet contribute to the sound the mics hear, which is also colored by the material, material density, and construction of the cabinet.
The sound coming out of the cabinet is a mix of the sound from the speaker itself, the sound that is reflected off the inside of the cabinet and bounced back out the front (where the largest ports are), and the cabinet's vibrational influence on the speakers.
The speakers are translating electrical impulses from the amp head, which is receiving electrical impulses from the pickups in the guitar.
The circuitry in the amp translates incoming impulses to outgoing impulses, and which parts of each impulse are changed along the way, and how they're changed. This is the amp head's voice.
So, the speakers are hearing the head's interpretation of the pickups in the guitar.
The mic is hearing the cainet's interpretation of the head's interpretation of the pickups' interpretation of the vibration of the strings and guitar body.
DrNewcenstein
He Did the Monster Mash
Re: Cannibal corpse what pups?
The pickups generate a magnetic field through which the strings pass at all times. This magnetic field converts string vibration into electrical impulses. Due to the vibrations of the body transferring to the thin solid parts of the pickup, the resonant properties of the body wood of the guitar influence the magnetic field to such a degree that it has a noticeably different structure than if the strings were detached from any anchor point.
Bridge type and construction also influence the vibration of the string - softer materials allow more string vibration to pass through the bridge to the body, while denser materials reflect more of it back into the string and transfer it to the body wood in much smaller amounts.
Body wood and shape influence how much of and in what amount a given set of frequencies are either dissipated into thin air and/or back into the bridge.
So, the pickups are hearing a combination of the body wood's resonance (which has its own voice) and the string's vibration (which has its own voice and is influenced by the phrasing applied by the picking and fretting hands, as well as the material and material density of the neck, fretboard, and fret wires).
Ergo, it does not matter who uses which pickup or guitar, because to get their sound you also need their amps, mics, soundman, and audio gear setup.
And that's not even mentioning individual players' "tone", nor the various EQ adjustments done on the board and amp, and how each such circuit has its own voice...
The pickups generate a magnetic field through which the strings pass at all times. This magnetic field converts string vibration into electrical impulses. Due to the vibrations of the body transferring to the thin solid parts of the pickup, the resonant properties of the body wood of the guitar influence the magnetic field to such a degree that it has a noticeably different structure than if the strings were detached from any anchor point.
Bridge type and construction also influence the vibration of the string - softer materials allow more string vibration to pass through the bridge to the body, while denser materials reflect more of it back into the string and transfer it to the body wood in much smaller amounts.
Body wood and shape influence how much of and in what amount a given set of frequencies are either dissipated into thin air and/or back into the bridge.
So, the pickups are hearing a combination of the body wood's resonance (which has its own voice) and the string's vibration (which has its own voice and is influenced by the phrasing applied by the picking and fretting hands, as well as the material and material density of the neck, fretboard, and fret wires).
Ergo, it does not matter who uses which pickup or guitar, because to get their sound you also need their amps, mics, soundman, and audio gear setup.
And that's not even mentioning individual players' "tone", nor the various EQ adjustments done on the board and amp, and how each such circuit has its own voice...
Moonsorrow
New member
Zerberus
Baron Von Shred
Re: Cannibal corpse what pups?
...and Atheist, Carcass, and Death blow both of them clean past the Keiper Belt, so maybe he should be chasing those tones instead?
not exactly the most helpful post, eh?
I´m fairly certain that EMG 81s were used on Evisceration for the most part. If that´s the case, the EMG 81, EMG 81-x or Seymour Duncan Blackout bridge will probably be your ticket to ride if you´re looking to get close to their live tone and play a similar rig.
Well, Nile use Invaders and, since they are a MUCH better death metal band, maybe you should chase that tone instead?
...and Atheist, Carcass, and Death blow both of them clean past the Keiper Belt, so maybe he should be chasing those tones instead?
not exactly the most helpful post, eh?
I´m fairly certain that EMG 81s were used on Evisceration for the most part. If that´s the case, the EMG 81, EMG 81-x or Seymour Duncan Blackout bridge will probably be your ticket to ride if you´re looking to get close to their live tone and play a similar rig.
Last edited:
Moonsorrow
New member
Re: Cannibal corpse what pups?
Speaking of Atheist...can`t wait to hear the new one!!!
...and Atheist, Carcass, and Death blow both of them clean past the Keiper Belt, so maybe he should be chasing those tones instead?
not exactly the most helpful post, eh?
I´m fairly certain that EMG 81s were used on Evisceration for the most part. If that´s the case, the EMG 81, EMG 81-x or Seymour Duncan Blackout bridge will probably be your ticket to ride if you´re looking to get close to their live tone and play a similar rig.
Speaking of Atheist...can`t wait to hear the new one!!!
DrNewcenstein
He Did the Monster Mash
Re: Cannibal corpse what pups?
Sorry, just trying to intercept the follow-up post which will say "WAHHHH! I bought the pickups you guys said they used but I don't have their sound through my LTD Viper and cheesy pocket amp HELP!!!1111oneoneonelol"
Sorry, just trying to intercept the follow-up post which will say "WAHHHH! I bought the pickups you guys said they used but I don't have their sound through my LTD Viper and cheesy pocket amp HELP!!!1111oneoneonelol"
