How To Mix HEAVY Guitars - Metal Mixing Tips
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- Опубліковано 14 тра 2024
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Having trouble getting metal or hardcore guitar tones to sit right in the mix?
Here are some tips on getting your metal guitar tracks sitting right in your metal productions using simple EQ and compression techniques.
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I like what you mentioned about the EQ selection because it had no visible spectrum just knobs. Makes you use your ears more than your eyes, valuable information there.
exactly!
Amazing mix.totally unrelated but your voice is quite similiar to steve carrell's
LMAO!
dammit, you ruined the video ! i wonder how he mixing Steve carrell's voice into his throat !
BREH- now i cant unheard that.... Not a bad thing tho, now im just closing my eyes and imagining im learning from micheal scott
didn't hear it, but after you mentioning it, i cannot unhear it now
And he looks like metal Jason Sudekis.
You earned a subscriber, my friend. Good job. Keep the hard work.
That riff tho.
Brilliant demonstration! Watched loads of videos on this and a lot of people seem to want to over complicate things but this was good and clear. Good source seems to be the most important and I like the idea of recording a mic’ed amp and a di at the same time. Don’t think that’s exactly what you had here but could be useful to have. Definitely subbed 👌
Best channel I've found for this stuff. Super appreciate!!!
Awesome video dude! Been waiting for you to do something like this! Now I can learn to mix some stuff haha! :D
Im new to recording + mixing metal guitars man . . . These are great steps for me. Thank you.
Pretty cool video, clearest i've seen so far. Thx for the tips, it's gonna help me a lot!
Anytime man!
Great points man. A DI is something I don't do and KNOW I should be doing. Those raw tracks were great. Good tips man. I like to roll off highs and lows while listening.
I tend to NOT think of EQ in terms of the frequency "numbers" but that had to change. I appreciate this attention to detail and I'm going to implement the suggestions RIGHT NOW and see how it goes.
Dude! great tip with the multipressor!
You’re my hero!
Glad it helped!
Duuude!! I NEED to get good at this like you... great sound 🤘
Very inspiring video. I'm getting into mixing my own material and this helps a lot.
I'm glad to hear that! I've got many more coming.
Goddamn that raw track was the definition of getting it right at source! Id love to see you try and recreate a similar tone with the DI tracks and amp sims! That would be a much more interesting video :)
Thanks for watching. I was actually thinking about doing a video on dialing in amp sims properly (I use amp sims a lot as well). Stay tuned!
FrightboxRecording awesome look forward to it. I didnt mean to come across as dismissive of the reamping btw, you did an amazing job whatever way you dialed in the tone and placed mic! But i reckon most peeps watching these vids are bedroom producers who most likely dont have this sort of equipment
I would ADORE a tutorial on the drums of this track 🙌
Subbed! Looking forward to working with you again man.
Keep up making videos man! good work!
Thanks! More's on the way.
This is absolutely fantastic! Thanks for sharing!
Thanks for watching Alessandro!
Damn that song slaps. Thanks for the great tutorial!
You deserve more exposure you were clear and easy to follow. Subscribed and liked
Glad you enjoyed the content! I've got tons more in the works.
FrightboxRecording no problem man thank you keep it comin👌
Amazing guitar sounds!
Thanks!
That DI trick is amazing, never thought of it.
Glad you found it helpful!
That tone sounds so mean 😈 Great job man!
Thanks man!
awesome video, subbed instantly!
Thanks for watching Mathew!
What I usually do it is render a drum & bass mix from my main session, and then start a separate session for all of my guitar tracks. Once I am done recording the guitars (DIs with amp sims), I edit them in that session as DIs, then render them as amped guitar tracks, THEN import them into my main session. I do separate sessions with ALL of my guitar tracks and ALL my vocal tracks. It's in these sessions that I edit and clean up, then bring them over to my main session to mix. It seems to work for me.
Thanks man. Helped
Glad it did!
Thanks for the video
Wow Perfect
Very helpful man thanks!
Glad you liked it. More on the way!
this just a fucking awesome video Dude Thank you so much!!!!
"They're coming to get you Barbara"
Lol took me a bit to figure out what was playing.
Awesome video btw! So much good information
Amazing
Steve Carell's voice! Thank You man for bringin so cool tutorial about mixing guitars! Helping a lot! :)
My pleasure man!
This sound you have here is honestly begging for a mic placement video more than a mixing video; it was an amazing recording. Great video all the same.
There's definitely content related to this in the works. Thanks for watching Kyle!
The biggest thing for most to know.
You want a great guitar tone.
But most the time when you find it and so forth then jam with a band something can sound off.
Mainly because you have to find where you get the tone you want while also being able to mix with the rest of the bands.
A slight challenge me and another guitarist found in this one band I was in.
Sure we had great tones.
Mine was more clear and modern his was more fuzzy and old school metal.
Wr finally got to a point where they balanced themselves out. But it took a bit because you spend a decent amount of time to yourself.
The same rule applies when mixing.
Sure the tone sounds good.
But does it work in the mix?
I like your sound man, I'm in ;)
Thanks Michael!
Great video! Is there much difference in the placement of the multi-band comp compared to the surgical eq in your opinion? I noticed you had the C4 first in line at the beginning of the vid and then switched it around.
Thanks for watching! In this case the placement doesn't matter at all. I didn't touch anything in the low-end (which is the only frequency range the C4 is effecting), so the multiband will react exactly the same whether it's before or after the EQ. If I did any boosting on the low end, which I almost never do, I'd definitely be sure to place the C4 at the very end of the chain so that it clamps down on the boosted low-end. Hope that helps!
Great tone
Thanks Rod!
Goddamn that sounded fuckin’ killer!
I heard your intro and hit subscribe immediately lol
5:05 you sound exactly like Michael from the Office. Great video dude🤘
I've been getting that a lot lately 😂
HOLY SHIT THIS IS THE HEAVIEST RIFF EVER
Using different amps has an interesting sound. I also find that double tracking with 2 really similar guitar tracks can sound interesting. If you want less of a chorusish sound double tracking like that is what not to do. Sometimes I duplicate a track to get the right volumes. I know compression has a certain sound if used, but I usually only use it for vocals. One way my mixes are unique and I know compression can kill some dynamics sometimes.
Surely your drum samples are compressed
this shit is fire yo
Damn, I Love Learning This Stuff, Man!!! :D
Thanks for watching dude, glad you dug it!
trying to learn some stuff. the track that he is adding the plugins too, how does he make it control both the guitars?
What thes the go to gain stage level for your guitars before mastering
Quick question are you sending the Left and Right amped guitar too the guitar sub? And if so are you using just the sub in the main mix or a blend combination of All 3
You sun called me out with that EQ matching comment 😂😂😂
Man those raw guitar tracks sound sick!
Thanks! I'm a single SM57 on the right spot of a V30 kinda guy.
That's it? I was sure there was some additional magic to it! Which cab were used?
Yes sir! It was a Randall Thrasher head through a Mesa oversized 4 x 12. I just found the 12" speaker that I liked best out of all 4 and micd that one. I used to go crazy with using multiple microphones and amps/cabs, but over time I've found that less is more. If you start with a great tone, all you need to do is capture that tone properly. People send me stuff to mix with 2-4 mics on a cab all the time and I usually end up ditching all of the mics and going with the one that's actually usable.
8:00 i miss my days of lurking around the Andy Sneap forum.
The good ol' days.
Great video! I see all the time people send things to a bus for those tracks, do you reccomend always generally creating guitar busses? Also should you always slightly compress the buss to kinda glue it together or does it depend? Thanks!!
Thanks for watching! I bus the guitars simply to keep things streamlined. I treat both L and R rhythm tracks as a single element and busing them together treats them as a single element. I compress the bus with a multiband compressor to help tame the chunky palm mutes. Some guys heavily compress the guitar bus and sometimes the tracks individually to add character. I prefer a more open sound for metal, so I tend compress as little as possible, but that's just personal preference. Anytime I have a group of tracks that I want to treat as a single unit, I send them to a bus for simplicity. Hope that makes sense!
FrightboxRecording thank you a lot for the reply, this def helps! One last thing, if you’re compressing Guitars on the bus, should you also compress on each guitar track themselves? Thanks!
I usually don't for metal. The idea for me is that I don't want to hear the compression at all and I'm only taming the 80-200hz area that can get a little out of control. If I'm mixing a rock band and I want to hear to color of the compressor, I'll usually throw a compressor on each of the guitar tracks to hear some pumping action going on (intentionally).
Hey man, big fan of your two videos (for guitar and bass)!
But lately I'm wondering how one even gets a recorded sound that fits well in a mix. I'm not much into DIs for bass and guitar - I have both, and a Kemper.
I want to be able to record from my Kemper, and I do so via a Scarlett audio interface. But I never find the tone fitting to the mix. I am a newcomer to the recording and mixing/mastering thing, and I have all these ideas I can't get right!
Hey man, thanks for watching! There will be many more videos one the way shortly (been super busy with the studio).
When I record with a Kemper (or Axe-FX) I steel a clean DI just like I would when I use a real amp. I do this to make editing much easier. It's a lot easier to see the transient information when a DI's present. Also, it's good to do this incase the tone isn't working and you want to reamp later.
The Kemper is an amazing tool that's capable of producing an INFINITE amount of different guitar tones. Are you going for a metal guitar tone?
Sounds like you need to learn more about eq and tweak the eq of whatever Amp you're using.
Idk if you've done this yet but can you show what good clean DI guitar sounds like? I'm not sure if I should be doing overdrive into my scarlett or not
Thanks for watching! I'd HIGHLY recommend not overdriving into your interface. The idea with DI tracks is that they're a 100% pure and clean recording of just your guitar....absolutely nothing else. The idea is that you can do anything with the captured guitar performance later. I always have bands track DIs if they're sending something for me to mix. This gives me the option to reamp into a real amp at the studio. I can use an overdrive before hitting the amp just like I would if I were recording a guitar player in the studio with me. Capturing a clean DI is extremely straight forward...just don't clip your interface. Focus on the quality of the instrument you're using, make sure it's intonated with new/newish strings and focus on the performance.
Great video! I see a lot of people routing tracks to a separate bus? Why wouldn’t you be able to just add the plugs in on the originals guitar tracks themselves? Thanks!
Great question! Lead tracks, for example, I usually don't route to a separate bus because they generally need different treatment from track to track and song to song. I'll usually route them directly to the mix bus.
For most metal productions I think of the L and R rhythm guitars as a unified element. Busing them together and only having to deal with the bus simplifies the mixing process for me. The longer I do this, the more and more I like to keep things simple. Thanks for watching!
►► Download your FREE Impulse Response Pack (8 IR's in the pack!) by clicking HERE: frightboxrecordingacademy.com/ir-octopack/
Dude the mixing in of the clean guitars is brilliant! Quick question, I find that when I mix heavy 8 string guitars, there is a tendency for them to become "harsh" and muddy. It's almost a tradeoff between getting great sustain and losing its tightness. What are your thoughts?
For super low-tuned stuff I usually use less gain to retain clarity. Also, I almost always use a tube screamer to tighten up the low-end before hitting the amp. Finally, I make sure the guitar player plays as tight as possible. Low-tuned stuff can get messy pretty easily.
slayerific!
Wouldn't have it any other way.
thanks!
Hope you found it helpful!
that sounded a lot like "Slammer", i like it
Sounds amazing but I think that it's a little bit hard mix heavy guitars without listen bass and kick together... I like that bass, kick and guitars give me the same impact in the low end... Here I can hear a little bit of "hole" in the lows and no so glue... Anyway, I think that it's not a error, it's just taste! :) Good work anyway! :)
Hey man, thanks for watching! My mastering chain tends to bump up the 100-300hz range naturally. I've been doing this long enough to where I'd say I subconsciously leave a few db of headroom in that range during the mix stage. I prefer to do as little processing as possible in mastering....so this seems to work for me. Also, I'm a huge early 90's Terry Date fan :)
But the guitars don't need to be in the same frequencies as the bass and kick drum, so you don't really need those two sounds to eq/mix guitars, heavy or not. You end up high passing everything in the bottom end of the guitars anyways so you can hear the bass/kick.
Sweet metal tracking tip - @aKpU
Im guessing the compressor on that low part isnt doing auto gain? Might be an obvious question. im noob
great lesson! the only thing that I'm still questioning is how much bass and how to know how much bass. I can barely hear it on. your mix but I feel that the low end is there and that's usually what I go for. But all I hear is that the bass supports the guitar its mostly bass in your whole guitar tone. For me I fuck everything up when it comes to the bass. Wouldn't mid a video on that issue
That's a great question, man. It's something that I struggled with for years myself. I'll definitely do a video on that issue and will let you know when I upload it. Thanks for watching!
Thank you for responding. I should have clarified I'm using computer bass. Sold my 5 string because of the exact issue you said in the bass video just terrible sounding no matter what. But I find myself taking so much out. I'll be on the lookout for any new videos thanks!
The biggest thing I learned here is the level of the guitars doesn't have to be super loud.
Do you always use the doubling technic? 100% left and right? Do you have other option.. like... with plugins or another recording trick? Do you have a link to a video that would be usefull for someone who would like to make a guitar track sound stereo with one take? Total respeckt
Hey man, thanks for watching! Doubling rhythm guitar tracks and hard panning 100% left and right is pretty standard practice for metal and rock production. Actually, many mixers employ the "LCR" technique where most elements of the mix are either panned hard left, right or up the center. This leaves a lot of space for the few elements that can make use of those in between positions like toms, leads, vocal overdubs, special FX etc. One trick you can use for a single guitar performance is to copy the track over to a secondary track and delay it by 15-20 ms. Then pan both of the tracks hard left and right. This will make your mono guitar sound more stereo. It's not the same as actually doubling the performance, but it definitely helps widen a mono source sound. When I do front of house I utilize this technique when there's only one guitar player in live situations. Hope this helps!
Frightbox Recording I would say that if you’re using the same track, 7 milliseconds maximum would be acceptable. Keep in mind that 7 milliseconds is actually when you start to feel latency, 15-20 milliseconds can be 2-3 times the the latency threshold and it will sound like a delayed signal more than a double tracked guitar part. Just my opinion on the matter. Great sounding mix either way.
question, if i get a pod hd pro x can i avoid using mics or do i need like neural dsp or something?
The Pod is meant to be recorded direct and has in-built cab sims, so no need for mics or neural DSP if you're using the POD.
Cool video I like the approach, but be a little slower with your bypassing and comparisons, would have been cool to hear a raw/mixed comparison at the end of the video too:)
I'll keep that in mind. Thanks for watching!
Hey! I'm new to this channel - just subscribed! I run a small production studio in my house, and have a degree in recording - I know - - - blah, blah, blah. I'd like to know if anyone has a clue to the engineering/producing that brought us those classic Judas Priest guitar tones of the late 80's. ie, Stained Class and Killing Machine {Hell Bent For Leather)? Thanks!
Are you using one EQ on the bus for your main guitars? You seem to be affecting both guitars at once with that EQ. I've heard it's better to EQ both separately because it keeps more separation between them but that could be totally wrong
Can you write signal chain for bass guitar in that song?Thanks in advance
dude thanks for watching! The bass signal chain in this video is identical to the one used in the above guitar vid...check it out: ua-cam.com/video/2Vf6KumlT0I/v-deo.html
Yesssss the thrasher is the best amp I ever owned.....mike Fortin is the best amp designer.....is it still a rule of thumb for the heavy guitar tone to match the vocalist's screaming tone?? I always noticed that with bands like megadeth, Metallica, and whitesnake
Agreed! I'm seriously thinking about picking up a Thrasher for the studio.
When it comes to matching the tone of the guitar to the vocalist, I actually don't think of mixes that way. I concentrate on capturing a guitar tone that matches the player and the riffs they're playing. In my experience, it's pretty easy sitting a metal vocal (as long as the vocalist doesn't suck) in a track that has the instrumental mix taken care of. I'll definitely be doing a video on this topic as well. Thanks for watching!
as far as I know there were some issues with the thrasher, basically some production models didn't turn out to sound as good as the prototype did. I don't know any facts about it, that's just what I heard from some thrasher owners and from Ryan Bruce
If that's the case, that's a major bummer. The one I've used a few times sounds awesome.
i mean, just because it sounds different from the prototype doesn't necessary mean it sucks, at the end of the day tone is subjective
Andrei Grozea i take everything bearded fluff says with a ton of grain of salt. i usually am in total disagreement with dines and bruce, most of the time. i own the thrasher 50 watt version and love the tones, more than any muddy boogie rec i ever tried, which fluff bruce praises. i can tell u the thrasher stomps the 6505 and rec, as i dont need a tube screamer just to make it sound decent
How’d you get that intro filter/phaser sounding effect
I used the Waves Metaflanger plugin audiosuite plugin within Pro Tools and processed the guitar audio before the song kicks in.
Of all of the tutorials I could have chosen how could I not choose the one with the Fulci icon.
Is the benefit of a good analog EQ versus a digital simply the bandwidth of digital processing?
For me it's mainly for psychological reasons. I could have gotten the exact same result by boosting with a wider band on the stock EQ that comes with Pro Tools. I like the analog style eq for broad stroke stuff (mainly boosting) simply because it's GUI looks like a typical console EQ and we all tend to mix with our ears instead of our eyes when there isn't a graph showing us exactly what frequencies we're boosting and cutting.
That's fair. I do like to see the output spectrum in the case of any peaking frequencies.
Do you think it's necessary to apply low pass and high pass filter to the stereo guitar mix with EQ if I already applied some in the IR loader?
Yes, I do it just incase there's junk happening in the extreme low and top end.
@@FrightboxRecording Thanks!
I'm learning more everyday with you!
@@ObscureMusicInCatalan So happy to hear that man!
That kinda sounds like my ampeg vh140c. Really thick meaty tone
Hell yea, I'm all about them meat tones. I've never used that model...gonna have to give it a shot one of these days. What cab do you push it through?
FrightboxRecording i have a generic crate cab i did work too with bracing, and insulating. But had v30s and g12p-80. V30s bought other 2 were free 🤷🏻♂️ plus little time in a cheap cab and a isolation riser and sounds good
Sir , how to make sound guitar good in mono and stereo (wide)?
If i did hard pan , my sound guitar tiny in mono.
I don't worry too much about mono. I'll EQ in mono sometimes, but all that matters to me is the stereo mix.
Nowadays stereo are the standard format
Of mixing...
@@Jessejezzz Exactly!
To open a can of worms, try parallel compression but flip the polarity on the smashed stuff...
Great video brother!! Do you think using both both a compressor and multiband compressor on heavy guitars is too much? If you use a multiband compressor, are there any cases you would even need a regular compressor?
Thanks man! I use both when I'm doing a rock or djent style mix. Pretty much if I want to actually hear the compression, I throw a broadband compressor on for color and the C4 is there to tame the palm mutes. For metal I like a nice, dynamic, open sound...so I usually go for the C4 only, but that's just my own personal preference. Hope that helps!
FrightboxRecording very much thanks!!
Thanks for the lesson, I’ve ordered a DI box in order to get my guitar sounding better. Only one problem I don’t really know what it really means. To pre amp something what does that mean? It’s my understanding that I can use ground lift to get rid of any hum. The splitting of the signal and the re amp bit o have no idea what that means. Please can some body help me
That’s a sick song by the way
I use the DI box to split the signal so I can record both the mic'd up amp along with a clean signal of the guitar.
I can then take that clean guitar signal and send it back into an amp and re-record it back into my DAW. A reamp box is needed to pull it off. Think of a reamp box as a DI box in reverse.
Frightbox Recording oh I see yes, thanks for replying mate that’s really cool of you. If I’d of known way back when I started that guitars would be so difficult to record I probably would of never started in the first place. It is one of the most difficult skills I’ve ever known
Frightbox Recording why do you need to re amp the first signal though, if your first recording is set how you want it and you play using that then why have to reamp? I’m probably gonna learn something valuable from this but I can’t see what it is? If my first signal is how I want it why would i change it? Is it to do with making the overall sound beefier? If so why not use the same setting and just re record it on the same tone on a separate track ? Am I missing something mate?
@@keegan6298 Reamping can come in handy if you record with a plugin and wan't to re-record the performance with a real tube amp later. It can be handy, but not necessary if you like the tone that you have already.
Recording a DI is important for editing as well. It's easier to see the transients of a DI track than an amp track. Amp tracks tend too look like giant blobs and are very difficult to edit.
Frightbox Recording awesome I don’t think of that, I was unable to hear a massive difference from my DI box, I’ve tried different ways to send the signal
From my guitar lead to the DI box then to my amp then from my amp recording out into my interface
From guitar to amp then to DI then to the interface
I’m unsure what’s the best signal chain but like you say it’ll show on the transients
Thanks man I really appreciate your knowledge so much
Are you in England? Id be willing to drive to you and pay you for lessons. This is something I really want to learn properly.
For a moment I thought you were Blue Stahli.
So how exactly do you create the DI track? Can I just plug my guitar into the interface and record (even if I have an amp sim from let’s say EZMix Modern Metal pack) then still be able to reamp it with amp sims later?
What you described is the best way to do it in my opinion. Recording straight into your interface is recording a DI. I always monitor through an guitar amp sim plugin and reamp later. If I dig the sound of the plugin, I just use the plugin in the mix. The key is that you're recording clean DIs. It's when people record amp tones WITHOUT recording a clean signal that's a major issue.
Frightbox Recording oh ok gotcha thanks! And this is a noob question, but if I’m having an amp sim tone for my play back while recording, how do I record the clean DI with no effects? Do I have to have 2 tracks? That’s kinda what I’m stuck on and can’t wrap my head around
@@metallpt147 When you have a plugin loaded on a track, an amp sim in this case, it's acting as an insert. The insert processes anything that's being fed through it, but what you're hearing isn't the exact sound that's being recorded. When you record your guitar plugged straight into an interface, you're actually recording just a clean DI signal in reality.
The amp sim tone that you hear is only for monitoring or playback within your DAW. If you were to bypass the plugin, you'd hear you guitar being played back as clean..even after it's recorded already.
Frightbox Recording ohhh ok gotcha. Thanks man I appreciate it! So in other words, I don’t need the DI box that I bought? Lol
@@metallpt147 Definitely not, unless you're looking to record through a traditional live amp/microphone combo. In that case you'd need a DI box to split the signal so you can record both the mic'd up amp as well as a clean signal from your guitar. That's why I usually opt to record guitar and bass straight into the interface and reamp it through an amp later if need be.
It cuts down on setup time when the bands are in the studio. Thanks for watching man!
that guitars are roaring!! what guitar and pickups do you used?
Thanks man! I actually didn't record these guitars at the studio. The guitarist recorded the DI tracks into Logic in his home studio. I later took the DI's and reamped them through a Randall Thrasher head running through an oversized Mesa 4x12 at my studio. Here's the left channel guitar: Shredly guitar, with a D-Activator in the bridge and the Air Norton in the neck. The right channel guitar was : Jackson Soloist with EMG 81/85. Hope that helps!
@@FrightboxRecording thanks for answering, there's some way that i can download that DI tracks to test? because i want to change the bridge of my jackson js22 7 and i'm so confused
@@MrMusicopath Sure thing dude. Email me at frightboxrecording@gmail.com and I'll send you the DIs.
@@FrightboxRecording can you also send to me the DI tracks so i can practice it at my home. Great video!
@@jomstudio9928 Thanks for watching! Shoot me an email: frightboxrecording@gmail.com and I'll send them over to you.
I literally just watched a vid where someone suggested doing the exact opposite of what you just showed.
@@JankSmanks I agree 100%
2:59 before
12:03 after
and there it is 8:50... that andy sneap mix trick again...
Hell yeah. My favorite trick for keeping guitars in check while letting them breath naturally.
if you want to hear metal guitar done right, listen to Doomsword - Heathen Assault. it's not "good" but it sounds "right". metal was never supposed to be so clean and perfect if you ask me... the way the instruments are recorded is part of the aesthetic. its pretty obvious in old black metal how important that was - it was what differentiated it so much from death metal
better yet, get some Witchfinder General - Witchfinder General. the GOAT of guitar tone
Since I'm running a PC with Reaper, are there any plugins that I can use similar to the SSLEQ? My guitar tone seems a little bit on the warm side and I think I can brighten it up a little bit using SSQLEQ just like in your tutorial here. Great video by the way.
Hey man! So sorry for the late response. UA-cam had you flagged as spam for some reason and I just saw this now. In all honesty any EQ will work. I use the stock EQ in reaper all of the time. I only use plugins like the SSL EQ to get me away from looking at numbers, since they're modeled after analog gear and feature knobs. I'd recommend dialing in a brighter tone on the amp itself if that's what you're going after. Hope that helps!
Really late but great advice here man.
Glad you found it useful! Much more on the way.
would a focusrite scarlett solo be considered a "good rig"?
Yes sir! As long as you have fresh strings, a decent guitar and tight playing all you need is an amp sim and a decent IR. Most of the stuff I mix for my clients are DI's recorded through simple interfaces. An example can be heard in this video. The guitars were tracked through an old Scarlett: ua-cam.com/video/o4OsYsdLTZ0/v-deo.html
@@FrightboxRecording Thanks! also are the guitars 2 different tracks for each side (L & R) or is it just a copy that is panned differently?
@@gavin2095 In both videos it's just one performance on the left and another performance on the right. Some guys quad track, but I prefer to just do two tracks.
What do you think about having multiple left and right guitar tracks playing at the same time? Each take recorded individually(not just copy paste)?
How to make such great high end like on amped tracks? It sounds like old tape, you know
Honestly, the trick is to use proper microphone placement or to use a solid IR. Most IR's are unfortunately pretty terrible. Also, the cab you decide to use makes more of an actual difference than the head itself. I'm a fan of the Mesa 4x12 oversized cab...always gives me what I want.
@@FrightboxRecording yeah, I know the cab is making 90 percent of the final guitar tone... But can't help finding out how can I do the same, that tone of a high end actually sound a bit old-ish and I tried to use different saturation and stuff but not much result. Could you check out Mastodon - Blood and Thunder isolated guitar track? You can clearly hear on the solo section what I'm talking about. It would be Great to get some thoughts/advice :))
I'm new to all this but, what the hell are frequencies in the context of mixing/guitar???
Any and all sounds that you work with are a collection of different frequencies. It doesn't matter what you're mixing or recording...you're dealing with frequencies.
Heavy guitars are one of the most challenging things to get right due to the fact that they are typically harmonically rich. There's A LOT of room for error. If there are any inherent issues in the source recording (phasing issues/extreme frequency response problems) they are usually near impossible to fix in mixing. Tracking a DI during recording is an amazing safety net since you can reamp the tracks if need be.
Also, people seem to overlook the fact that tight performances greatly contribute to a great sounding production. A great performance can make an OK guitar tone sound diesel. Real talk.
@@FrightboxRecording Thanks for the reply. Any chance you can make a video on how exactly frequencies work?? I'm still not 100% sure what they are since I'm new to all of this.
@@marcorodriguez7694 Stay tuned. It's in the pipeline!
@@FrightboxRecording 🤘🤘🤘
How I will learn to achieve Heavy guitars with almost mix ready guitars
You cheated that track was already perfect that never happens. ever.
No cheating....just well played/tight guitar tracks with proper mic placement.
They sound like Testament!
I'm a huge fan of the recent Testament mixes, so I'll take that as a compliment! I love that modern/retro/organic combination vibe.
What is the name of this program?
Hey man! I'm using Pro Tools in the video.
Nice video.... but what about that shit on the tv man??? BR0000TAL
lol Thanks! Night Of The Living Dead for life.