A Guitar And Gear Support Forum

Note that while this is being done in Pro Tools, it is applicable to any DAW.

Have fun!

Thanks for posting that, I watched the whole thing.
I intellectually understand the words that he spoke. I never will fully "get" it. If you want a massive rhythm track that sounds like 6 guitars, record it six times with slightly different settings, maybe different guitars, different amps.
I sound old and angry, while that is generally true, not here and now. The Beatles worked very hard in the studio and revolutionized some techniques for recording, and then stopped touring (more than one reason I know) because they couldn't reproduce the sound live. They broke up and all did more live performances.
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Two layers done with just a Rockman Stereo Chorus on max will also sound pretty huge.

ID10t wrote: ↑Sun May 23, 2021 10:24 am Thanks for posting that, I watched the whole thing.
I intellectually understand the words that he spoke. I never will fully "get" it. If you want a massive rhythm track that sounds like 6 guitars, record it six times with slightly different settings, maybe different guitars, different amps.
I sound old and angry, while that is generally true, not here and now. The Beatles worked very hard in the studio and revolutionized some techniques for recording, and then stopped touring (more than one reason I know) because they couldn't reproduce the sound live. They broke up and all did more live performances.
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It's not just recording 6 tracks...he blends clean guitars , dirt guitars, detuned guitars all EQ'd differently sprinkling Reverb and Delay where appropriate so their place in the mix doesn't step on each other or other instruments. He's also avoiding "phasing" between them. Good stuff!

eicca wrote: ↑Sun May 23, 2021 2:58 pm Two layers done with just a Rockman Stereo Chorus on max will also sound pretty huge.

True if you want JUST the Rockman sound.

LightWingStudios wrote: ↑Mon May 24, 2021 11:01 am

eicca wrote: ↑Sun May 23, 2021 2:58 pm Two layers done with just a Rockman Stereo Chorus on max will also sound pretty huge.

True if you want JUST the Rockman sound.

Nah, it works great for any DI signal! Using it after a load box or modeler would be superb!

I actually don’t want massive rhythm guitars. I usually want them to sit back and suggest the chord movement but leave plenty of space for bass, vocals, and other instruments in the mix. He went to great lengths with EQ and a pile of multiple tracks etc. to keep it from being a complete muddy, mess, but often more is less and less is more. In this case, play less notes and fewer stacked tracks and don’t let them drone across the entire measure. Let the bass add the tight bottom end and leave some space for the song to breath and to give the listeners’ ears some breaks.

This is great advice... I usually record four rhythm guitars, lately all Mesa Boogie Mark V models with different EQ settings and cabs. 2 tracks on the AxeFX and 2 on the Kemper. What really gives the sound "BALLS" is the bass. A heavy distorted bass goes a long way. But, this is in a metal context. I usually drop some gain for the pop/lighter stuff.

Chocol8 wrote: ↑Mon May 24, 2021 3:36 pm I actually don’t want massive rhythm guitars. I usually want them to sit back and suggest the chord movement but leave plenty of space for bass, vocals, and other instruments in the mix. He went to great lengths with EQ and a pile of multiple tracks etc. to keep it from being a complete muddy, mess, but often more is less and less is more. In this case, play less notes and fewer stacked tracks and don’t let them drone across the entire measure. Let the bass add the tight bottom end and leave some space for the song to breath and to give the listeners’ ears some breaks.

I couldn't agree more. This may sound bizarre to some, but what I really miss in the production of most rock music today is "thin" guitar. I've been listening to a lot of isolated guitar tracks on YouTube, everything from Andy Summers, to EVH, Lynch, Schon, many others, and by current standards these guitar tones would be considered thin. But in the context of the band they allow dynamics, headroom, the sense of space that you elude to.

I believe this discussion about massive vs thin guitar sounds is related to the broader debate about the increase in loudness and compression in recorded music. The former is just one part of what contributes to the latter.

Narsh wrote: ↑Sat May 29, 2021 8:50 pm This is great advice... I usually record four rhythm guitars, lately all Mesa Boogie Mark V models with different EQ settings and cabs. 2 tracks on the AxeFX and 2 on the Kemper. What really gives the sound "BALLS" is the bass. A heavy distorted bass goes a long way. But, this is in a metal context. I usually drop some gain for the pop/lighter stuff.

Ala...John Entwhistle.

This is the vocal guy I was listening to for tips. Some great ideas and exercises. Didnt know he talked mixing ideas too.

It would look out of place on stage. A massive rhythm guitar and a normal scale length lead guitar... Not to mention the feelings of inadequacy the bass player would suffer.

Tonray's Ghost wrote: ↑Tue Jun 01, 2021 5:06 am Not to mention the feelings of inadequacy the bass player would suffer.

I thought bass players always had feelings of inadequacy, except in bands that have a banjo player to bring up the rear.

Vocals like this is his main jam



But it seems hes heading more towards recording recently.


Or you can listen to him do and not just teach

A similar technique used by Mutt Lange is to record your rhythm guitar with a tone that you would play live with and lightly high-pass filter it (cutting off some of the low end frequencies). Double the part using the same guitar, less gain and more high-pass. Then try different guitars, as others have mentioned.

A Billy Squire take on this was to play the main riff on a Les Paul, then do the additional guitars with Telecasters, Strats, P-90's & sometimes Rickenbackers.

I produced a friend's album in the late 90's and he had written one, very powerful song on piano and envisioned heavy guitars as the song went on (I'll see if I can resurrect it for here). We did a pre-production demo like that and the first thing I suggested was dropping to Eb, ditching the piano for an acoustic guitar and developing strength using cleanish guitars. The power was unbelievable and would have been washed out with distorted guitars.

So - experiment and try things that seem contrarian.