Old 09-10-2010, 06:52 PM   #81
thequietroom
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For me the formula has been:
1. less distortion than you may think necessary when solo'd, make sure its a controllable tone, I feel the articulations are more featured this way.

2. wide panning, to me separating two performances really wide in the mix exposes the performances and really features little nuances such as harmonies and pick sounds, muting etc.. and a tone that is featured like this to me makes a statement of confidence.. very metal but.....

3. It has to be very very tight. with every nuance featured.... they all must be intentional. any timing issues are instantly exposed and your tracks go from heavy to poopy in an instant.


I used the word "featured" too much didn't I
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Old 09-10-2010, 09:30 PM   #82
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Thats it.
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Old 09-11-2010, 07:03 PM   #83
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Originally Posted by thequietroom View Post
For me the formula has been:
1. less distortion than you may think necessary when solo'd, make sure its a controllable tone, I feel the articulations are more featured this way.

2. wide panning, to me separating two performances really wide in the mix exposes the performances and really features little nuances such as harmonies and pick sounds, muting etc.. and a tone that is featured like this to me makes a statement of confidence.. very metal but.....

3. It has to be very very tight. with every nuance featured.... they all must be intentional. any timing issues are instantly exposed and your tracks go from heavy to poopy in an instant.


I used the word "featured" too much didn't I
This has been pretty much a sort of formula since the 5 piece rock band came into existence, not doubt.

The one example that sits out there like the proverbial "bird in your face" though is EVH. Generally no double tracking there. Pretty much the way I'd like to do it too. One pass, great tone, be done. Any insight there?
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Old 09-12-2010, 09:06 AM   #84
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Na not silly pretty much standard with some applications. Its all subjective and up to the person behind it.

Some of the bigger sounding guitars ive heard are on the first couple of Godsmack releases. Cameron Webb just single tracked Tony Rombola then duplicated the track and put about 15ms of delay on the left channel.(Ithink it was the left anyway) and that was it. Sounded good. So yea theres always more than one way to skin a cat.
More than one way. EVH had a smidge of delay and thats was it
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Old 09-12-2010, 10:01 AM   #85
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Any time I see a discussion of using the Haas thing (short delay panned to the other side) to simulate a second guitar, someone always points out that it kills your mix in mono. If the guys producing EVH and Godsmack were fine doing it, is there something that can be done to reduce how much your mono sound is affected? Or do they just not care?
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Old 09-12-2010, 12:19 PM   #86
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Speaking of EVH, Danny Danzi who recorded this track is a huge fan of Haas..
http://dl.dropbox.com/u/923791/Shred...ABG%20Demo.mp3

Thats his VH tribute band. I am not sure whether he used it on this track and to what effect...But its an example of an EVH live sound..
KM
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Old 09-12-2010, 07:15 PM   #87
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Originally Posted by Lokasenna View Post
Any time I see a discussion of using the Haas thing (short delay panned to the other side) to simulate a second guitar, someone always points out that it kills your mix in mono. If the guys producing EVH and Godsmack were fine doing it, is there something that can be done to reduce how much your mono sound is affected? Or do they just not care?
True Haas also has its place. However I was speeking of a regular delay. Like jamies crying and others listen you will hear it.

And the art of making the guitar seem wider than the speakers, so to speak, is a give and take. Its psycho-acoustic. So yea a extreme wide track like the linkinpark stuff dont sound as wide in mono. But who downloads and listens on a mono ipod. Ya, see.
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Old 09-15-2010, 10:46 PM   #88
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Any time I see a discussion of using the Haas thing (short delay panned to the other side) to simulate a second guitar, someone always points out that it kills your mix in mono.
I've always been told it would cause objectionable comb-filtering.

Yes? No?
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Old 09-16-2010, 05:09 AM   #89
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Originally Posted by Bezmotivnik View Post
I've always been told it would cause objectionable comb-filtering.

Yes? No?
It can, but it's not hard to get around. Solo the two guitar tracks and make the master mono when combining them. If you find that getting just the right delay for the fullness you are going for is causing comb filtering, just identify the offending frequencies and apply a little EQ to the delayed track.

Keeping the delayed track at a lower volume helps to make filtering less noticeable too.

Another cool thing to do with Haas is to have your main track go up the centre, and have the delayed track panned hard left. Find the delay that gives the fullest sound and don't worry much about comb filtering. Once that is found, send the delayed track to a third track, pan it hard right and flip the phase. You now get a situation where if something nulls on the right, it sounds clear on the left and vice-versa.
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