Tracking Guitars for "thick" metal tones...

I ususally go exactly same settings left/right - unless I want the two sides to stand out separate from each other, which I generally don't for hard rock etc - there I just want to present a strong front

Hi,

Always quadtracked guitars!
2 x the same amp/profile panning hard left and right
2 x the same amp/profile panning 80% left and right

Example: 6505+Savage : http://www.brickwall.pl/comparison/6505+SAVAGE.mp3 [Real Amps]

Stay Metal!

Again, the question is whether you want them to stand out as separate guitars or as a cohesive unit. That's a production decision, really, no right or wrong. My feeling, though, is that modern hard rock/metal is usually same guitar, same amp, same settings. There are always exceptions, though - as with anything in music.

i always use the same tone Left + Right

2 tracks L100 R100

if 4 tracks L100 R100 L80 3db lower R80 3db lower

some do it different, but i personally never EQ guitars just a lowcut 60-80hz (depends) and highcut 7000-12000 khz (depends)
i dont even notch frequencys like many do..:)

i send all tracks to a "guitar group"

than i use a multiband compressor (like Waves C4) but control only the area 65hz and 250hz all other bands are turned off. I dial in the treshold..that it does not compress with regular playing..only when a palmute comes that usually has more lowmid power...and this overpowering lowmids i controll with that to keep it tight and clean..and my mix not to boomy.

[Blocked Image: http://themodernproducer.com/wp-content/uploads/2014/08/c4.gif]

but all this..will only work with a very good miced tone..very balanced...bright, not too bright and still thick and full

Guitars also like saturation...like console saturation or tape saturation..will bring them more upfront and feel more organic

oh and i forgot..for Leadguitars or Sologuitars..i usually use a different amp to get more separation from the Rhythm guitars

Solos 1 track in the middle lowcut higher at 100-120hz

Leads - the same or double tracked and panned something like L75 R75

For metal I always use one guitar and two different amps and then sometimes layer tones from different speakers (V30 & G12T) and then pretty much what Deadlight has already said above.

Quad track as well,
Amp A L100
Amp B R100
Amp A with a slightly different tone R30%, slightly less volume
Amp B with a slightly different tone L30%, slightly less volume
No Eq on any

Main lead I'll clone the track, one track dry slightly off center, put delay on other track panned further from center (like a wet dry setup from my "live" rig days)

Harmonies I'll leave single tracks, add a touch of wah, or boost mids on some of the tracks
Example:

Hope it helps!!

I have the rhythm guitars played twice and panned to 100% left and 100% right. Another 2 guitars go 80% left and 80% right, mostly identical to the first two, but containing the harmonies (i.e. the third), if there are any. Leads without runs get doubled and go 50% left and 50% right. Leads with runs and solos go slightly off center in a single take. The 'slightly off' is to leave the center exclusively for lead vocals.

good tips here...but what if the guitarparts are different, let's say like ac/dc or thin lizzy etc?

Different tones then for me at least. Different guitars and/or amps and/or settings. I'll ususally hard pan, but send the signal to a slapback delay up the middle (maybe 80 ms?), to make them sound like they're in the same room. Adjust the level to be below notice until you turn the send off.

i also often use Brainworks shredspread if you dont know that plugin...check it out

I'll try the delaytrick and the plugin,,thanx

Great thread, very interesting stuff for an amateur like myself!

I'll add a trick I learned at the studio where my band recently recorded some songs: if you use a very tight distorted metal sound for your main guitars, try adding one or two tracks with a much looser, more vintage sound to really fatten up the mix. The studio had a THD Univalve they used specifically for that purpose. We were skeptical at first because it sounded so flabby, but combined with our main guitars it really worked.

Here's an example I just threw together:

The main guitars here are panned hard left and right. The rigs I used are respectively "LL Chain of Damnation" and "LL Chug Chug", both very tight profiles with a high "Definition" parameter. At 0:38, you can briefly hear what it sounds like with just these guitars.
Then I added two "thickener" tracks, panned 50% left and right at -4.5dB, with a THD Univalve profile ("Definition" parameter 0.0). You can hear them isolated at 0:42. By itself, this profile is unusable for metal, but it adds some growl to the overall sound.

All four tracks are separate takes (so no re-amping of the same take with a different sound).

maybe pan those tracks also wider..i dont like them much at L50 R50 and you will loose headroom/space in your mix
try them on l80 R80

what also has to be mentioned..without a killer bass tone in the center...the best guitar tones will sound week

Quote from Deadlightstudio

maybe pan those tracks also wider..i dont like them much at L50 R50 and you will loose headroom/space in your mix
try them on l80 R80

what also has to be mentioned..without a killer bass tone in the center...the best guitar tones will sound week

You're right, thanks for the tip! I re-uploaded the original with those tracks panned wider.

Quote from Robrecht

">

Great thread, very interesting stuff for an amateur like myself!

I'll add a trick I learned at the studio where my band recently recorded some songs: if you use a very tight distorted metal sound for your main guitars, try adding one or two tracks with a much looser, more vintage sound to really fatten up the mix. The studio had a THD Univalve they used specifically for that purpose. We were skeptical at first because it sounded so flabby, but combined with our main guitars it really worked.

I've been tinkering with this a lot lately. Quad-track my main tone (LL Mean Bastard) 100L/100R, 80L/80R, and then dual-track something like an unboosted Rectifier to try and get that dark, fuzzy roar you hear in the background of the heavier stuff on Mellon Collie & The Infinite Sadness. It's also fun to use this same tone on your bass if you're doing the popular "clean low end + tight overdrive + distortion" method.

Yeah, the bass! A HUGE part of the guitar tone is the bass. Bass can take a lot of distortion without it being very audible in the mix. That can help tone as well.