Worked at a studio for many years in the early days and just assumed I could copy, paste, and nudge a few milliseconds and no one would be the wiser about my laziness. Well, that backfired in my face, just like every time I tried to use a shortcut. Lesson learned.
@@tomwilson2112 Then again, too much imperfection and it's going to sound like crap, so I wouldn't say the beauty is in the imperfection in and of itself. The beauty is in the authenticity. It's like hearing a good singer without autotune. Their pitch is never going to be 100% perfect, but it comes close enough, and you appreciate it, in part, for being real. If a singer is just way off key, you probably wouldn't say the beauty is in the imperfection, because that's just bad singing. Talent and authenticity is always a good combination.
It doesn't work because of "imperfections". Well, not the way people are using the word. It's not "imperfect", it's 100% different. Even if a machine plays both tracks, there will never be a single audible moment where both tracks are the same. No matter how it's played, you can't really say "imperfections", because it's ALL imperfect, from start to finish. There's never a single moment where the exact same thing is happening in both performances, and there never can be, because there are infinite possible variations in an analogue sound source like a vibrating string. The "imperfections" thing get's thrown around too much, like people are using it to lay the groundwork for a belief that sucking at an instrument is a good thing
I learned to do this with vocals some years back. I didn't like the first recording so I tried it again on a different track. When I played it back I had forgotten to turn the first copy off. I liked what I heard and have been doing it ever since.
I learned about this from an interview with a musician in a magazine back in the late 90s/early 2000s. Don't remember the musician or the magazine, but that's where I learned it. I also learned another tip from an interview with a musician, but I haven't tried it myself...but he was saying that in the studio he would use a smaller combo amp cranked up a little louder, instead of a bigger half stack or something. Said it gave him a "crunchier" tone or something. I've used both, but never thought to do a comparison. Might have to try that....
I was like "oh okay, so he's just gonna talk about why mono sucks and then compare it to stereo for 15 mins", but as always: You went the extra bloody mile to explain everything and explore a little further! Really great video!
glad you said this cause I felt like this video could have gone on for 30 minutes longer, wasn't sure if I covered too much or too little. Still it will need a part II i think!
@@SignalsMusicStudio I thought it was perfect, more than enough to not be generic but also not exhausting or boring if some one is just getting into the concept. I feel like almost all of your videos are like that, really great work! A part two would be really cool indeed! There's just so much more stuff you can do. Like quad tracking, blending different amps, speakers and mics or also just doing the same riff/lick/whatever but differently, like some one else in the comments already suggested; different voicings etc. Enjoy the rest of the week!
Maybe stupid question, is this kind of effect why Full Orchestras sound so great? Because there are like 5 of the same instrument playing slightly imperfectly together?
I believe orchestras are so large because they needed the total volume from multiple (same) instruments to fill the large halls. The natural chorusing from multiple same instruments is a bonus. IMHO.....
Not a stupid, but loaded question because 20 live violins in a section do not sound like 20 takes of one violinist. I have tried x-tupple takes including different brands of instrument plus various mics and distances and angles etc. only to discover whopping sounds, but not anywhere near a simulation of a live section. - it is however fun and creative as hell
Remember y'all, Stereo isn't just "left and right channels", it's also the space between you and the speakers -- how a sound in the right channel will bounce off a wall and you'll feel it behind you. Learning about that can open the door to so many sound possibilities. Bowie's vocal on ""Heroes"" is an easy example, look up how that was recorded.
He did one, titled "Producing Rock in Ableton Live" "In the Mix" is a really good production channel, more focused on electronic music, and FL Studio. "The House of Kush" is good too, lots of general advice, not focused on any DAW, tends to be more advanced stuff as well.
Not to mention mixing and mastering processes! Ever heard the raw samples of Gun 'n' Roses "Appetite for Destruction" sounds nothing like the final product. Ever heard a song on RUclips using the raw samples of an amp sim and then heard the produced mix late in the video, sounds nothing like those raw samples. You can't really chase the final tone because that where the magic occurs. You can nail the raw samples if you can find them quite easily, but, you can't cant get *that* final tone without knowing how the producer mixed the album and then the mastering process usually someone else (and making everything louder apparently) and the processes he used. For instance one guitarist in the studio blended four different amps together to get his *sound* try chasing that tone.
@@kbadr Did they double track? They sound just as good live and have the same tone in my opinion. I thought it was just the marshall, volume all the way up, and the way angus and Malcolm hit the strings so hard?
Another trick for recording an acoustic guitar is placing a mic by the headstock. Up there you really get a nice bright tone. You can also double it with a mic that picks up the strumming on an electric guitar that isn’t amped. You’ll mostly hear the pick scrapes against the strings but that works well in the mix
@thestumblingchef3146• maybe this guy has never heard of a wet and dry simultaneous recording signal path. You can always add and control your different effects later.
Yes, it becomes a secondry sound behind the main guitar, perfectly locked into it. I did this with my electric. I mic up the amp and was very close to the mic which piked the strumming. Also recorded on two separate computers and joined them together. From what I can remember, one pc recorded at a significant time difference to the other. Wouldn't mind trying that again to see what happens
I’m a drummer but learned so much from this! Also, you have an amazing speaking voice. Your articulation is immaculate and your voice is very relaxing.
I like the Tony Iommi double tracking solos, because they would split up for a bit around the climax of the solo and then sync up again and it just sounds really cool
That's not double tracking my friend that's just 2 solo's stacked on top of each other. Imo its harder to get 2 solo's to sound as perfect over each other as Iommi could.
At their best, Black Sabbath songs could feel like there were 3 or 4 - 2 guitar, a bass, and drums - interlocking solos all playing off of each other at the same time. War Pigs does this really well.
This made me listen to every single song I've know for years and years with a whole new auditory perspective. The double tracks were always there, and I never noticed them. What a lesson!
This is an example of something that sounds stupidly obvious once an important but basic idea has been explained. In this case, its stereo HEARING, something we arent necessarily thinking about when focusing on whats coming out of the speakers and not the thing that is receiving the stimulus. Great video as usual.
"we hear in stereo. the different signals we receive in each ear, and the timing differences between them, create a subjective spatial phenomenon, which helps us determine things like space, size, location, movement, etc." - a brief approximation of my rant on stereo hearing that mysteriously got lost when making this video
Just a note: click tracks have been around since forever in studio recording. We just called them "metronomes". Early studios literally used the old mechanical ones fed into the headphones of the performers, and many used visual light based metronomes. The term "click track" just didn't get popular until we musicians started using them for live performances via in ear monitor systems.
Valuable info thanks! I am a drummer who adopted/learned to use and create click tracks over the past 2 yrs(after 20 yrs sans click/accurate tempos), and explaining to my bandmates how and why a click is not an "extra" thing, but a fundamental, was an interesting/challenging endeavor depending on who I was speaking to. I was curious on how far back the usage goes, aside from picturing a metronome quietly clicking on top of a piano. Thanks!
Dimebag Darrell doubled all his leads. Always. He was really, really, really good though. He always stated that the differences in the two tracks are what gave his solos their full sound on his albums.
Dimebag's solos always sounded so rich and gravelly because of the very well doubled guitars. I wanna know how he did that live, though. Was it two amps with subtly delayed?
@@MrNeosantana He used an MXR Flanger/Doubler EVH used a wet/dry/wey setup based on Eventide Electrum VST by muramasa has a fantastic doubler, check it out
@@MrNeosantana I’m not sure about Dimebag’s situation but a lot of guitarists have they’re whole set tracked and the guitar tech would work effects pedals and hit solo’s or rhythm recordings in live. So the guitar tech had to keep time in real time. Talk about pressure.
This is also partially why a lot of metal bands will have two guitarists with different amplifiers (the other major part being personal preference). Some bands even make it a fairly extreme difference, too. Slipknot's guitarists, for example, use Orange and Rivera amps, which are just completely different sounds. Sometimes though, guitarists will use similar but still distinct amps, like the guys in Lamb of God running a Mesa Mark V and a Mesa Royal Atlantic.
Your videos are incredibly instructive but also entertaining. I never get bored watching. Things are presented in such a fresh and direct way ... awesome!
Tip: If you've already tracked all the parts and can't re-record anything, you can often get a double-track by combining takes from multiple verses and choruses if the playing is the same. So verse 1 is the guitar from verse 1 left and the guitar from verse 2 right. And vice versa for the second verse. That can get you double tracking with just copy/paste! It doesn't always work of course since the parts may be too different between sections, or maybe there is an extended post chorus that only happens once or something. But it can save you in some situations. (This also works well with vocals in a chorus!)
But the two guitarists aren't playing the same thing just like Aerosmith! So how does that help it's character? Jake said you have to play the exact same thing as closely as possible and these bands aren't doing that!?!
@@vaughanmacegan4012 They aren't playing the same thing, sure, but what they are both playing compliments the other perfectly. It's not like Slash hits a note and Izzy is fucking around out of key lol.
One other technique that I use often for acoustic guitars: Record two channels, one using an acoustic pickup, the other using a microphone. You get two copies of the same performance, recorded differently, but very close. Pan them hard L&R, and you get a nice wide result, leaving room for vocals, bass, etc. in the center of the mix, without the "room ambience" effect you get from using stereo microphones.
Interesting, I like it. When recording electric guitar, sometimes I like to split the signal immediately out of the guitar, and send one line into a hardware guitar effects processor with some custom effects, delay, etc. The other line goes into my audio interface directly, recorded dry. Then, I use software effects (usually SoundToys) and add similar (or sometimes very different) effects and delay to the dry track and then split the two tracks side to side. Maybe tweak one or both tracks with a different reverbs, EQ, etc. This way, I can get some nice-sounding stereo electric guitars with just the one performance.
9:11 so glad you brought that up. I put out a kind of lo-fi, folky EP just last year and I really struggled with deciding whether or not to double track the guitars. Ultimately it just didn't feel right for what I was trying to do so I ended up just sticking with the mono method but I still second guessed myself quite a bit afterwards. All in all this video was super insightful and definitely helped put my mind at peace about that ep. Thank you for your service!
In fact I learnt to keep things mono and clean if a player or singer can't double o triple track professionally. If multiple takes are done really well, the stereo effect Is wonderful. Otherwise keep it simple, stick to mono
Thanks for this! I am just a hobby guitarist who occasionally records via an interface. Could never get a strong sound. These tips have made the whole experience way more fun! Much appreciated.
@@lalo4642 I agree with that 100%, I'm the same way when I play. What I was referring to is on certain songs (can't recall of the top of my head which ones, probably many, maybe Iron Man, maybe War pigs) there are two lead guitar Tracks playing a solo at the same time in the same key by the same guy, one panned left and one panned right. So there is no way any one person could play it live ( I know, Because I tried while playing live - I used a delay to try to compensate but it's not the same). It sounds super cool with headphones. And some extra curricular substances and the proper setting.
@@TangoNevada Yeah, I know what you mean. That double solo technique has always been so cool, the one in Killing Yourself to Live is one of my fav ones. I don't know if it's related of what I stated before though.
And doing this same thing with vocals also works like a charm. You can put them one quieter than the other and panned center if you want to leave your main vocal centered as most people do :)
Long story short, when I was 15 years old, I was in a band and I decided to invest my money and time to record our own material and for me it was I guess a natural instinct to just record left and right separately, yes I have tried to copy paste but the very first seconds of those takes put together it felt wrong, so I unconsciously tried recording each left and right as their own take and it gave it that wideness. No experience or what so ever, just had a friend who suggested me to get an audio interface and do my own thing. Today I love to use a doubled effect in the mix (Mimiq Mini Doubler), but its really slightly noticeable but gives it that extra cherry on the top, heavy warm feeling to the mix. Great video, big thank you!
Great video, as usual. Another cool trick for chord parts is to record one side in standard tuning, and the other side in an open tuning or with a capo, so you’re playing the same chords but with slightly different voicing. Thanks, Jake!
this does sound fantastic- I'd call it a layer, not neccessarily a double track. one day i'll do a vid on all my fav ways to layer guitars in the studio
I like to double track L/R and then do a 3rd part with a capo or alternate tuning panned center and lower in the mix. Similar to Jake's addition of the electric layer. I've also tried layers with 5 or so different capos, but honestly there was very little gain after 2 or 3. A high capo (like 7th fret) can give a nice 12 string sound.
I like using different guitars, overdrives and playing different parts. Even different instruments and pan that left and right. Can't get any more stereo than that.
Me watching this video putting it into sharp contrast how much hearing loss I've had in my right ear from years of standing stage left near the drums. Enough that I'm on my insurance portal looking for an ENT right now. :(
@@iagmusicandflying I honestly don't get how so many people experience temporary hearing loss/tinnitus (you are extremely unlucky if you get significant permanent damage from one concert or performance where it was too loud), then decide to NOT bring ear plugs the next hundred times... Had my ears blasted as a teenager once, experienced tinnitus for about a week, never not worn ear plugs ever since while either playing or watching a concert.
This reminds me of Mike Oldfield's original Tubular Bells where he laid down all kinds of duplicate mono tracks panned left or right. It was so messy and cutting edge that it was epically great.
Tubular Bells was such a revolutionary record for the time. Oldfield is just that one-in-a-century sort of artist. He went a step beyond virtuosity, in my opinion.
I wish Jake was around to make this video 10 years ago when I was first getting into digital music lol, it took me years to figure a lot of this stuff out
Glad that Aimee is listening to Jake’s videos. I would love it if he started to be asked to be doing more collabs with you, Adam, David, Tantacrul and all the other music RUclipsrs. His teaching is amazingly clear and really helpful, and this video is another example of that.
A fun effect i like to do is record a nice clean electric guitar arpeggio part on a strat and record 5 takes, one with each pickup and pan them as equally across the stereo field for a really full and rich clean sound
One record where the double tracking is really noticeable is Seether’s Karma and Effect. The two guitar tones in each speaker are pretty different, and as far as I know, it isn’t triple tracked unless there’s also a lead playing. I also didn’t know about the dual mic recording with acoustics! It’s something I’ve noticed, but it just sounded like two guitars playing at once, even in songs where I’m sure it’s only one guitar.
It's even easier to hear the double tracks there if you listen on earbuds, but just one at a time. Another option is to drag the mp3/wav into your DAW or even audacity, and just pan it left and right to hear the differences.
Paul Davids has a video on recording acoustic guitar. He uses two mics, but then he also pans the reverb of the two recordings to be opposite of their speaker. So the reverb from the left signal goes to the right speaker and vice versa. It's really quite interesting!
@TheNerdyGinger Wow! That one was literally one of my favorite albums as I was growing up. Guitar tones on that album are brutal, especially the song named "Given." There was always something about rhythm guitars in that song. Later on, I figured out that they actually had a 6-string guitar in Drop B, and then they double-tracked it with a 7-string in standard tuning with some parts played slightly different and on different amp settings (I believe Shaun uses various Mesa Rectifiers for recordings as well)
You are super spot on about this misguided notion of playing perfectly is 'not rock 'n' roll'. I have never understood where the notion came from. Sounding bad and making your listeners cringe even though you are 'feeling the music' is not rock 'n' roll - all the great rock and metal bands such as Megadeth, Metallica, The Beatles, etc sounded great and did not speed up or slow down too much in tempo when recording. Sure there might be a few imperfections here and there, but they still sound incredible relative to the entire mix, and that is NOT the same as not being able to play in time and giving a sloppy performance altogether. Great video Jake!
it's a combination of hero worship and dunning-kreuger effect IMO. I also think people want any excuse they can find to not work hard. But mostly, people romanticize rock stars as superhuman gods who just naturally could exude music without "working" or "learning". this then gives them a lifelong excuse to fail and underachieve and not even try- because they're not "magical" like their gods!
Exactly! It makes it so hard when people play very sloppily and say they're "rock." If I'm playing a song, I'll have a few measure of click so I start at the right time, but can recreate rather easily. A good player can keep a steady pulse with AND without a metronome
It makes it even funnier if they’re using the bands you mentioned as examples of “feeling” the music, because all three groups were notoriously rabid perfectionists, especially when it came down to the recording of the songs themselves!
I believe that another example of why it's important to double track is by listening to anything the Foo Fighters have done. Since their inception, they have recorded almost everything on tape and some songs like My Hero showcase incredibly well done double tracking, especially for the drums. Dave Grohl has made it a point to practice so much that he and the band nail their double tracks just about every single time. They are a great example of modern musicians putting out sonically pleasing product and doing so by great skill.
Listen to the VERY BEGINNING of my track "What's Comin To Ya" to hear the double-tracked guitar thing that only occurs on one side, then appears in full. Very good example of how much energy is added with bass and drums!
You have confirmed many things I learned on my own. I've used all these techniques and more. One technique I use a lot that didn't mention is vaguely similar to when you have the dual SM57's at two different spots recording one acoustic. First, I always use two mics recording acoustic or electric. But, unconventionally, I rarely use a matched mic. In terms of fairly affordable mics, I may take an SM57 (I love this mic and what an insane value at under $100) and a Rode NT5 pencil condenser. For an electric cab, I'll put the SM57 off center but close mic-ed. Then I'll take the Rode, which is too sensitive to stuck in the cab's face, and set it back a foot or two with a slightly different angle aimed at slightly different part of speaker cone. On top of this I typically have a large diaphragm condensor mic handling "room" sound and sometimes I DI using a an ABY switch. Each mic (even the DI) does through a voltage starved home studio 12AX7 pre (using different but Russian or comparable valves such as Genelex Gold Lion or Mullard, Tung-Sol, or JJ. The main amp has 12AX7 pres and KT88 power. This is crazy overkill to have 4 channels for one guitar part, but I have learned a lot doing this. Before I explain, let me tell you my vocal and acoustic guitar micing ritual. I'll use the SM57 close mic-ed pointed to about the 12th fret, then slightly farther back the NT5 point more towards the bridge. These two go through the pres with 12AX7s and I carefully adjust the gain between the pres and audio interface to get about the same signal level. For vocals, I do the same thing but with one mic slightly left and the other slightly right both pointing inwards towards the appropriate side of my mouth. Again I take care to keep over levels near parity. When doing acoustic or vocal I almost always hard pan each mic 100% to the left and other to the right. I will typically use slight differences in the reverb, chorus or EQ to accentuate the differences. I use an effects loop they brings the effects back towards center channel. Even for a simple podcast this creates a more live sound and makes it slightly more compelling to listen to. Now back to the electrics. We are blessed to live in the age of good, semi-pro home studio gear and the luxury of using four inputs on one guitar. Here I don't have a "always" solution, but I may pan the close mics left or right, but other times I only slightly pan so the sound is still mostly centered. I then take the two close mics and usually mix the SM57 loudest since it always records my Celestions with vintage tone whether clean, dirty, or filthy. The Rode NT5 isn't so great for guitar cans but has an ethereal sound. Sometimes I use it's output almost entirely to the effects bus and mute the dry signal. The room mic adds a live sound that I typically leave in the mix at 40% or so the output of the SM57. The direct in through the 12AX7 is often the most interesting option. It goes through the same pedal effects but bypasses the Blackstar Studio 10 KT88 or other low wattage all tube amp. Sometimes I will split the ABY right after the tuner so I get pure unsullied tone. How I mix that in varies from not at all, to heavy send to the busses, or mixed down the center to support the SM57. This is a lot of work and use for my more experimental projects. My goto everyday setup is two mics on the cab (sometimes an SM57 and it's cousin SM58 or the Rode NT5). I find the SM57 is always delicious clean or crunchy. I have a second SM57 on order as well as an sE ribbon mic. Often it's a $220 Squier Affinity Tele as the source (with upgrades), or a custom Fender Tele HH. Honestly I like the Squier sound through the Blackstar best. The KT88 and Affinity Tele were both pandemic purchases ($219 for Tele plus setup, $399 for Blackstar, all from Sweetwater) Added pedals and mics and purchased Logic Pro X and a new MacBook Pro 8-core i9 w/64GB RAM and 2GB SSD. I also have an Apple silicon MacBook Air M1 that I can use for acoustic when the sound of the fans of the big Mac are unacceptable. Excluding the price of the computers, Logic Pro X, and the HS8 monitors, I spent about $2000 to create a really fun guitar and synth recording room. The key thing that I do that is different from your suggestions is using mics with slightly different attributes and pan then extreme right and left (for vocals and acoustic) and I love the effect. I test listening back on Beyerdynamic DT770 Pro, Sony MDR 7506, Apple AirPods, HS8 studio monitors, and Klipsch computer THX speakers. I typically love the DT770 Pro the most, the HS8 next, Sony and so on. Fun topic. New subscriber!
Obligatory Internet pedantry: "stereo" doesn't mean "two" in the way "mono" means "one". That prefix would be "duo". "Stereo" means "solid, three-dimensional". Which is also an apt meaning for the improved sound from double tracking, and of course that 3D imaging was the reason the word was used to describe stereo audio equipment in the first place. (So what's the counterpart to stereo, I hear none of you cry? Probably the Greek prefix would be something like "platy" (flat) or better yet "lepto" (flat and thin, like a ribbon).) We now return you to Jake so you can learn something useful about music rather than trivia about linguistics.
As long as we’re being pedantic here, _mono-_ is of Greek derivation, while _duo-_ is of Latin origin. The equivalent Greek-derived prefix would be _di-._
A note on the Haas Effect thing is that the sound will still cancel when not using headphones, since only headphones prevent the two signals from physically interacting.
Gonna have to research this myself. 40 ms should be plenty of time to change to phase. Edit: 40ms is in the MHz range, I'm going to assume You're correct. Lol
Listen to Yngwie Malmsteen's Black Star with headphones. Once panned hard right, once panned hard left, and once centered. Then realize there are two guitars perfectly harmonized a minor 3rd apart with blistering notes whizzing past your eardrums with a magnificence that only a god could create. Now imagine doing that at 19 years old.
This makes me feel really good, cause I'd kinda figured out a lot (but critically not all) of this by myself and via general observation of engineers without ever being taught explicitly what was going on and why. I made real double tracks of a lot of the parts for my cross-genre hiphop project but decided to cut out a lot of the attempts of double tracking on my blues album, because the big sound didn't sound right. Thanks heaps again for how amazingly clear all your videos are
Big Amateur here: I've watched so many acoustic recording videos and they all talk about dual Microphones. this is the first one that mentions dual stereo panning. This is soooo cool! Thanks
I was waiting and hoping you would mention Randy double and triple tracking his solos lol. It’s honestly kinda insane that he could and would do it regularly.
Spot on my friend. I've been working in studios producing since the 60's and have owned my own studio since 1988 and your video is well done and nicely explained. I am retired from the road now at 78 but still make youtube vids. One trick I have used, and there will be the occasional exception (such as when you only have one guitar backing up say a folk singer), but if you want an acoustic to sit nicely in a mix, but be clear and make a difference in the thickness of the mix, use a set of 10's when you restring if you're not already doing that. It gives a great deal of clarity and the bottom end won't muddy up the mix. Also, learn what your mikes "sound" like. Yes, you can do subtractive mixing to clear up larger strings somewhat, but it's not the same. There's a ton of information in the 400 hz to 800 hz region since almost everything starts down there. If you don't remove some of it you get mud. But other than that, you are certainly spot on with the info you provide here. Production is an art. We can never truly master it but it sure is fun trying! I am 78 and still learning and experimenting! You probably already know this, but don't always reach for the treble knob for clarity, turn down the bass or low mid knob. Subtractive eq does much more to the clarity than just adding more and more and more treble does. In the old days if we added too much treble we got more tape hiss. In today's world, you can add way too much treble without hiss being a problem to remind us. So many mixes I hear now are just way to brittle and the low end is still muddy. Loved your video! The first studio I worked in had two 2 track Ampex tape machines lol! A "punch in" was taking two or three takes and splicing the best parts together with a razor blade. Sounded great, but extremely limited compared to today's world. What we have to work with now is beyond amazing!!
I love this guy. Iv learned so much from you over the years Jake. . You take really complex and difficult music laws and principles, and dumb them down for people like me. Thanks for all your work brother 🙏🏻 Gr8ful I am.
OMG….your RUclips channel is so good. In 20 years, seasoned and prolific musicians will be being interviewed and they’re going to credit you for their success. There are some really good music teachers on RUclips right now and you’re easily in the top three. Thank you. Thank you for making these videos. They’re invaluable.
Thanks for this great video! _"You can quad track, 8 track, etc. I don't ever find a use for more than 4 on the same part."_ Symphonic orchestra often have tens of musicians playing the same partition at same time. Of course, it's also for sound power (as they don't amplify), but I would say that it gives that musical richness and fullness that is achieved by multitracking in studio.
I am not a music producer, not a band member, not an instrument player, not a sound engineer, but i found this video super interesting and super cool. Thx
I noticed Randy’s double tracking in a ton of songs. When a huge lead comes in there’s just a sound you can’t exactly pinpoint that makes it different. It always sounded like the guitar was ripping through the speakers or headphones. It was a sound you can only get from the double-tracking. Most popularly the Crazy Train solo. There’s a section in there where he’s actually playing two almost identical sets of notes but there’s one or two notes that are different. You can’t really pinpoint it until you pick up a tab book or try to pick it out and you can get close, but what you play won’t match up perfectly because those two or three semitone separated notes mix together almost to form a new note or Atleast a new interpretation of those notes together that would not occur by playing the two simultaneously.
Don't forget mixing in the DI signal to acoustic guitar, it can really add to the attack. Also using a Nashville tuned guitar, electric or acoustic, can add something different too
I didn't fully realize this technique until after my band recorded our cd, to this day its my one looming regret on that album. A note for note double tracking of both guitars would have made the whole cd go from sounding good to sounding great.
true double tracking sounds much more rich and natural than copy-pasting, it's one of the simplest yet most powerful tricks one can do when recording! also fun fact - Metallica's "Ride the lightning" had 8 perfectly synced rhythm guitar tracks if I recall correctly, hence the powerful tone
I think metallica down tuned and recorded slower to get them tight, then sped up the analog recordings until they were back in tune - those records aren't in perfect tune if you try to play along with that album. Some are sharp, some are a little flat. The tempo is all over the place too but it works.
@@ilokikoval true, like said in the video multitracking isn't always a must. Though that depends on the guitarist, some can record lots of tracks and still sound tight as hell
Great advice, another technique is to copy a track and pull sections from one performance and move them, ie cut the rhythm guitar second verse and move to the first, same with the chorus etc. Interesting results.
In the documentary "ZZ Top: That Little Ole Band from Texas" there is a story about the producer not wanting them record anything that they couldn't play live. But they couldn't get the sound they wanted. The engineer knew how to get the sound they wanted, so they sent the producer out to get fried chicken from a certain place nowhere near the studio. The engineer had Billy Gibbons record his part once but told him to not make it too complicated. Then he told him to pull on his strings so the guitar was slightly detuned. They then recorded the same part again and nailed the sound. The producer got back and after griping about how far he had to go to get chicken heard the sound and said that was it.
I've been using Cypress TT-15 panning L & R but changing the "EQ/compression settings, etc." so they sound different. But I suppose they're still the same thing. I know Gojira in the most recent album(s) have been using 2 mics per guitar for a total of 4 guitar tracks BUT they are using 2 guitars effectively playing the same thing. So 4 "slightly" different sounds from 2 different guitar(s)/and more importantly guitarists. I'm going to try to recording with the Cypress TT-15 (L or whatever), then pull on my strings and then playing with my Pignose through an SM58 on the other side and see what happens. Thank you for the story!
Dude your videos and knowledge is utterly incredible. I mean this next bit with the greatest of respect and admiration... you look like your 18, but your knowledge and wisdom is like your 100. Keep up the fantastic work. You have a great gift as a teacher, and am grateful you're happy to share your knowledge.
This was an excellent demonstration! I'm old school (came of age in the 80s). If you want something doubled, you gotta put one can on, and match your performance! Chops are required. The DAW technology doesn't change my approach.
That makes sense. It never sounded quite right to me when I tried to play Smells like Teen Spirit. I'm sure most was my skill level, but the sound didn't sound right, either. That song is both an easy song, and an incredibly hard song to play. For me, at least. Cheers to ya.
@@hellodumplings8564 ah, ty. Deleted most of my comment to rewrite. Didn't notice it deleted the song name. I understand that made no sense without it. I fixed it. Thanks for bringing it to my attention.
Yeah, Butch Vig, the producer on that album, said Kurt Cobain was TOTALLY against overdubbing guitars. Since Cobain was a John Lennon nut, Vig said he had to constantly say, “come on, man, John Lennon did it.” Other times Vig said he had to trick Cobain into doing overdubs by lying and saying that the first take had some issues so they needed to go again. Needless to say, those lies and Lennon references made a masterpiece.
Siamese dream is amazing when you start to pay attention to the guitars, it's almost like a symphony of guitars is all songs, there must be around 30 guitar tracks at least in each song hahaha
Thank you for the detailed information. I'd just like to add : Having only one functionnal ear, I guarantee you that even with my headphone/computer/phone/whatever configured to automatically convert to mono, I can ear the difference. It actually _sounds_ different, filling in the whole sound pane (don't know how to exaplain the feeling!).
![43 Music Theory Concepts That EVERY Modern Composer Should Master [The Music Theory Map]](/img/1.gif)
Worked at a studio for many years in the early days and just assumed I could copy, paste, and nudge a few milliseconds and no one would be the wiser about my laziness. Well, that backfired in my face, just like every time I tried to use a shortcut. Lesson learned.
Ah yes. Phasing
What happened? You got fired and started a RUclips channel?
Didn’t you even detuned them ?
Keen to hear how it backfired. We could all learn from that
It works for Acoustic guitars, at least for me. No phasing issues. But for overdriven guitars, yeah, it doesn't work.
It is almost poetic that despite trying our hardest to perfectly replicate something, the imperfect result creates a greater effect...
Yes. It seems that with art, especially music, the beauty is in the imperfection. Which is why we still have paintings in a world with photography.
@@tomwilson2112 Then again, too much imperfection and it's going to sound like crap, so I wouldn't say the beauty is in the imperfection in and of itself. The beauty is in the authenticity. It's like hearing a good singer without autotune. Their pitch is never going to be 100% perfect, but it comes close enough, and you appreciate it, in part, for being real. If a singer is just way off key, you probably wouldn't say the beauty is in the imperfection, because that's just bad singing. Talent and authenticity is always a good combination.
That's why many live performances are so amazing.. you get kind of a different result every time.
What a lovely observation.
It doesn't work because of "imperfections". Well, not the way people are using the word. It's not "imperfect", it's 100% different. Even if a machine plays both tracks, there will never be a single audible moment where both tracks are the same. No matter how it's played, you can't really say "imperfections", because it's ALL imperfect, from start to finish. There's never a single moment where the exact same thing is happening in both performances, and there never can be, because there are infinite possible variations in an analogue sound source like a vibrating string.
The "imperfections" thing get's thrown around too much, like people are using it to lay the groundwork for a belief that sucking at an instrument is a good thing
Randy's double tracked solo in crazy train has actual different notes at some points. It's amazing.
Ahhh, thats why it always sounds off when Im playing along
Tony Iommi is the master of double tracking solos- usually doubles but sometimes harmonising
No it is just normal
Amazing till you want to play it on guitar
@@ianhale4466 All you wanted to do was learn your favorite song, now you're an amateur audio engineer.
I learned to do this with vocals some years back. I didn't like the first recording so I tried it again on a different track. When I played it back I had forgotten to turn the first copy off. I liked what I heard and have been doing it ever since.
I honestly can’t believe that this level of instruction and advice is free. Very helpful!
I learned about this from an interview with a musician in a magazine back in the late 90s/early 2000s. Don't remember the musician or the magazine, but that's where I learned it.
I also learned another tip from an interview with a musician, but I haven't tried it myself...but he was saying that in the studio he would use a smaller combo amp cranked up a little louder, instead of a bigger half stack or something. Said it gave him a "crunchier" tone or something.
I've used both, but never thought to do a comparison. Might have to try that....
This video helped me realize I have my speakers on the opposite of what they need to be...
And just like that some water was spay
@@JJames666male OK, Carrie Bradshaw
@@ericajohnson7535 who?
same lol i was looking for this comment
lol
I was like "oh okay, so he's just gonna talk about why mono sucks and then compare it to stereo for 15 mins", but as always: You went the extra bloody mile to explain everything and explore a little further! Really great video!
glad you said this cause I felt like this video could have gone on for 30 minutes longer, wasn't sure if I covered too much or too little. Still it will need a part II i think!
@@SignalsMusicStudio I thought it was perfect, more than enough to not be generic but also not exhausting or boring if some one is just getting into the concept. I feel like almost all of your videos are like that, really great work!
A part two would be really cool indeed! There's just so much more stuff you can do. Like quad tracking, blending different amps, speakers and mics or also just doing the same riff/lick/whatever but differently, like some one else in the comments already suggested; different voicings etc.
Enjoy the rest of the week!
So should all the guitar parts be panned 100% to the left and right?
@@dawghousetv no, it depends on where you want the guitar within the stereo image. sometimes its nice to automate the panning to make it move aswell.
Maybe stupid question, is this kind of effect why Full Orchestras sound so great? Because there are like 5 of the same instrument playing slightly imperfectly together?
well put! even the materials (wood, strings, etc.) are different from instrument to instrument
Yep
@@10HW = different overtones
I believe orchestras are so large because they needed the total volume from multiple (same) instruments to fill the large halls.
The natural chorusing from multiple same instruments is a bonus.
IMHO.....
Not a stupid, but loaded question because 20 live violins in a section do not sound like 20 takes of one violinist. I have tried x-tupple takes including different brands of instrument plus various mics and distances and angles etc. only to discover whopping sounds, but not anywhere near a simulation of a live section. - it is however fun and creative as hell
Hard-panned multi-take acoustic chords can also benefit from having different voicings or inversions.
I quintuple-tracked acoustic guitars for a track and used five different capo positions for every track. Nashville tuning is also cool for that.
Remember y'all, Stereo isn't just "left and right channels", it's also the space between you and the speakers -- how a sound in the right channel will bounce off a wall and you'll feel it behind you. Learning about that can open the door to so many sound possibilities. Bowie's vocal on ""Heroes"" is an easy example, look up how that was recorded.
Omg! Please do a whole course in production!! Everything you teach becomes so clear!
I would love that
Yes, me too
He did one, titled "Producing Rock in Ableton Live"
"In the Mix" is a really good production channel, more focused on electronic music, and FL Studio.
"The House of Kush" is good too, lots of general advice, not focused on any DAW, tends to be more advanced stuff as well.
Up this
“Do not listen to it over cell phone speakers” so this is how it feels to be a criminal
If you have a sony smartphone ...
The new iPhones have stereo speakers.
Me listening on my phone that has stereo front facing speakers
@@iamcrog134 every phone does nowadays. Im not a Sony user but I know they're the best. iphone speakers are kinda bad
You're right Skyfire....
This also makes you realise why tone chasing occurs. You hear the album and when you play along your tone is never quite as punchy... Now I know why
See also: AC/DC
Not to mention mixing and mastering processes! Ever heard the raw samples of Gun 'n' Roses "Appetite for Destruction" sounds nothing like the final product. Ever heard a song on RUclips using the raw samples of an amp sim and then heard the produced mix late in the video, sounds nothing like those raw samples. You can't really chase the final tone because that where the magic occurs. You can nail the raw samples if you can find them quite easily, but, you can't cant get *that* final tone without knowing how the producer mixed the album and then the mastering process usually someone else (and making everything louder apparently) and the processes he used. For instance one guitarist in the studio blended four different amps together to get his *sound* try chasing that tone.
@@kbadr Did they double track? They sound just as good live and have the same tone in my opinion. I thought it was just the marshall, volume all the way up, and the way angus and Malcolm hit the strings so hard?
@@dawghousetv Yes. Everyone double tracks in the professional world. I can't believe you people don't know this.
No not everyone double tracks for every guitar part .
“ I can’t believe you don’t know this”
^
Another trick for recording an acoustic guitar is placing a mic by the headstock. Up there you really get a nice bright tone. You can also double it with a mic that picks up the strumming on an electric guitar that isn’t amped. You’ll mostly hear the pick scrapes against the strings but that works well in the mix
this is an awesome tip, thank you :)
@thestumblingchef3146• maybe this guy has never heard of a wet and dry simultaneous recording signal path.
You can always add and control your different effects later.
@@madmaximilian5783 yeah but that’s not doubling the track. The point is that the two tracks are slightly out of sync
Yes, it becomes a secondry sound behind the main guitar, perfectly locked into it. I did this with my electric. I mic up the amp and was very close to the mic which piked the strumming. Also recorded on two separate computers and joined them together. From what I can remember, one pc recorded at a significant time difference to the other. Wouldn't mind trying that again to see what happens
I’m a drummer but learned so much from this!
Also, you have an amazing speaking voice. Your articulation is immaculate and your voice is very relaxing.
I like the Tony Iommi double tracking solos, because they would split up for a bit around the climax of the solo and then sync up again and it just sounds really cool
yeah youd be listening to a kickass solo then all of sudden theres 2 other solos going on
That's not double tracking my friend that's just 2 solo's stacked on top of each other. Imo its harder to get 2 solo's to sound as perfect over each other as Iommi could.
Rusty Shackleford well the beginning would usually be the same but then they’d differ partway through
At their best, Black Sabbath songs could feel like there were 3 or 4 - 2 guitar, a bass, and drums - interlocking solos all playing off of each other at the same time. War Pigs does this really well.
@@theccarbiter
Yes, it almost felt like a duet, but not quite.
Best way to put it, is it starts as a double track then becomes a duet.
A free RUclips video like this has no business being this insanely good.
This made me listen to every single song I've know for years and years with a whole new auditory perspective. The double tracks were always there, and I never noticed them. What a lesson!
Was really blown away by the electric clean over the acoustic! That was beautiful!
James Hetfield's precision is always on another level. In most of the songs, he doubles his guitar but the precision is always there.
In the album And Justice For All, the rythm guitar section mostly consists of 6 guitar tracks, panned out evenly.
He records at least 4, I think Battery had like 6, sad but true is like 8 lol
He's different.
Hetfield IS Metallica!
I think he recorded 8 tracks for One. He's on a different level
This is an example of something that sounds stupidly obvious once an important but basic idea has been explained. In this case, its stereo HEARING, something we arent necessarily thinking about when focusing on whats coming out of the speakers and not the thing that is receiving the stimulus. Great video as usual.
"we hear in stereo. the different signals we receive in each ear, and the timing differences between them, create a subjective spatial phenomenon, which helps us determine things like space, size, location, movement, etc." - a brief approximation of my rant on stereo hearing that mysteriously got lost when making this video
@@SignalsMusicStudio the stereo speakers did it. They're afraid they'll be out of a job when you reveal the truth
Just a note: click tracks have been around since forever in studio recording. We just called them "metronomes". Early studios literally used the old mechanical ones fed into the headphones of the performers, and many used visual light based metronomes. The term "click track" just didn't get popular until we musicians started using them for live performances via in ear monitor systems.
Preach!
These crazy kids and their click tracks! ;) Awesome video and such a clear explanation.
also midi in the 80's
@@chuckcrunch1 Do not speak to me of the deep magic, witch! I was there when it was written ;)
Valuable info thanks! I am a drummer who adopted/learned to use and create click tracks over the past 2 yrs(after 20 yrs sans click/accurate tempos), and explaining to my bandmates how and why a click is not an "extra" thing, but a fundamental, was an interesting/challenging endeavor depending on who I was speaking to. I was curious on how far back the usage goes, aside from picturing a metronome quietly clicking on top of a piano. Thanks!
Dimebag Darrell doubled all his leads. Always. He was really, really, really good though. He always stated that the differences in the two tracks are what gave his solos their full sound on his albums.
Dimebag's solos always sounded so rich and gravelly because of the very well doubled guitars. I wanna know how he did that live, though. Was it two amps with subtly delayed?
@@MrNeosantana He used an MXR Flanger/Doubler
EVH used a wet/dry/wey setup based on Eventide
Electrum VST by muramasa has a fantastic doubler, check it out
His tracks always sounded great, like Pantera had two guitarists. Sounded sick!
@@MrNeosantana I’m not sure about Dimebag’s situation but a lot of guitarists have they’re whole set tracked and the guitar tech would work effects pedals and hit solo’s or rhythm recordings in live. So the guitar tech had to keep time in real time. Talk about pressure.
@@big.muscles.ohyeah Recently it was Scott Ian working the whammy for Zakk Wylde during one of the Pantera reunion shows. He nailed it.
This is also partially why a lot of metal bands will have two guitarists with different amplifiers (the other major part being personal preference). Some bands even make it a fairly extreme difference, too. Slipknot's guitarists, for example, use Orange and Rivera amps, which are just completely different sounds. Sometimes though, guitarists will use similar but still distinct amps, like the guys in Lamb of God running a Mesa Mark V and a Mesa Royal Atlantic.
Your videos are incredibly instructive but also entertaining. I never get bored watching. Things are presented in such a fresh and direct way ... awesome!
Tip: If you've already tracked all the parts and can't re-record anything, you can often get a double-track by combining takes from multiple verses and choruses if the playing is the same. So verse 1 is the guitar from verse 1 left and the guitar from verse 2 right. And vice versa for the second verse. That can get you double tracking with just copy/paste! It doesn't always work of course since the parts may be too different between sections, or maybe there is an extended post chorus that only happens once or something. But it can save you in some situations.
(This also works well with vocals in a chorus!)
Appetite for Destruction’s left/right guitars are noticeable, gives the album its character!
But the two guitarists aren't playing the same thing just like Aerosmith! So how does that help it's character? Jake said you have to play the exact same thing as closely as possible and these bands aren't doing that!?!
@@vaughanmacegan4012 They aren't playing the same thing, sure, but what they are both playing compliments the other perfectly. It's not like Slash hits a note and Izzy is fucking around out of key lol.
@@vaughanmacegan4012 But he also said that are the litte differences between the 2 takes thats turn double tracking real nice
They still double tracked the rhythms
One other technique that I use often for acoustic guitars: Record two channels, one using an acoustic pickup, the other using a microphone. You get two copies of the same performance, recorded differently, but very close. Pan them hard L&R, and you get a nice wide result, leaving room for vocals, bass, etc. in the center of the mix, without the "room ambience" effect you get from using stereo microphones.
Interesting, I like it. When recording electric guitar, sometimes I like to split the signal immediately out of the guitar, and send one line into a hardware guitar effects processor with some custom effects, delay, etc. The other line goes into my audio interface directly, recorded dry. Then, I use software effects (usually SoundToys) and add similar (or sometimes very different) effects and delay to the dry track and then split the two tracks side to side. Maybe tweak one or both tracks with a different reverbs, EQ, etc. This way, I can get some nice-sounding stereo electric guitars with just the one performance.
doing the same here! the acoustic pickup feels more punchy and stingy while the microphone add more room and darker tones. a great mixture
9:11 so glad you brought that up. I put out a kind of lo-fi, folky EP just last year and I really struggled with deciding whether or not to double track the guitars. Ultimately it just didn't feel right for what I was trying to do so I ended up just sticking with the mono method but I still second guessed myself quite a bit afterwards. All in all this video was super insightful and definitely helped put my mind at peace about that ep. Thank you for your service!
In fact I learnt to keep things mono and clean if a player or singer can't double o triple track professionally.
If multiple takes are done really well, the stereo effect Is wonderful. Otherwise keep it simple, stick to mono
Thanks for this! I am just a hobby guitarist who occasionally records via an interface. Could never get a strong sound. These tips have made the whole experience way more fun! Much appreciated.
This is some music production school stuff, i dont think anyone explains things like this. Awesome video man, lots of information, thanks so much.
Nirvana’s Nevermind is the best example of how to perfectly layer rhythm guitar tracks imo. Butch Vig is a legend
YESSS, Nevermind is the perfect example of a huge wall of sound with guitars. And of course, Andy Wallace also gave it some life ;)
It's crazy, it has so many guitars we can't even hear but we do feel
Metallicas guitars too!! Their guitars always were huge.
Bob Rock was a master too.
Even better example is Toxicity album by System Of A Down, thats like really wall of guitars. Mixed also by Andy Wallace.
Black Sabbaths first album has buzz notes or "bad notes" that actually give a ton of character to the music and makes it seem real
At some points I think he just played completely different solos in the same key on different tracks. Really cool.
@@TangoNevada Tony Iommi himself said he never could play a solo or riff exactly the same twice
@@lalo4642 I agree with that 100%, I'm the same way when I play. What I was referring to is on certain songs (can't recall of the top of my head which ones, probably many, maybe Iron Man, maybe War pigs) there are two lead guitar Tracks playing a solo at the same time in the same key by the same guy, one panned left and one panned right. So there is no way any one person could play it live ( I know, Because I tried while playing live - I used a delay to try to compensate but it's not the same). It sounds super cool with headphones. And some extra curricular substances and the proper setting.
@@TangoNevada Yeah, I know what you mean. That double solo technique has always been so cool, the one in Killing Yourself to Live is one of my fav ones.
I don't know if it's related of what I stated before though.
And doing this same thing with vocals also works like a charm. You can put them one quieter than the other and panned center if you want to leave your main vocal centered as most people do :)
Long story short, when I was 15 years old, I was in a band and I decided to invest my money and time to record our own material and for me it was I guess a natural instinct to just record left and right separately, yes I have tried to copy paste but the very first seconds of those takes put together it felt wrong, so I unconsciously tried recording each left and right as their own take and it gave it that wideness. No experience or what so ever, just had a friend who suggested me to get an audio interface and do my own thing.
Today I love to use a doubled effect in the mix (Mimiq Mini Doubler), but its really slightly noticeable but gives it that extra cherry on the top, heavy warm feeling to the mix.
Great video, big thank you!
This should be required viewing for any guitarist that aspires to record. Great video!
Great video, as usual. Another cool trick for chord parts is to record one side in standard tuning, and the other side in an open tuning or with a capo, so you’re playing the same chords but with slightly different voicing. Thanks, Jake!
this does sound fantastic- I'd call it a layer, not neccessarily a double track. one day i'll do a vid on all my fav ways to layer guitars in the studio
@@SignalsMusicStudio yes please :)
I like to double track L/R and then do a 3rd part with a capo or alternate tuning panned center and lower in the mix. Similar to Jake's addition of the electric layer.
I've also tried layers with 5 or so different capos, but honestly there was very little gain after 2 or 3. A high capo (like 7th fret) can give a nice 12 string sound.
@@SignalsMusicStudio I think that would be a great video topic. Looking forward to it. Thanks!
This video is worth its weight in gold, as an independent music maker working on a free daw (cakewalk), this helped me immensely.
I like using two mics (R L) for one take, and two mics for the second take in the opposite panning (L R), it gives you a HUGE stereo image.
I like using different guitars, overdrives and playing different parts. Even different instruments and pan that left and right. Can't get any more stereo than that.
For my double tracks I even play two completely different songs.
@@qwerty687687 Sounds like a recipe for "musician at the wrong gig". :D
@@qwerty687687 hahahaha
Thank you for walking through ideas with actual audio examples. The difference between different approaches was bigger than I would have imagined.
Me watching this video while only having my left earbud working 🤡
F
hahahaha!
F
Me watching this video putting it into sharp contrast how much hearing loss I've had in my right ear from years of standing stage left near the drums. Enough that I'm on my insurance portal looking for an ENT right now. :(
@@iagmusicandflying I honestly don't get how so many people experience temporary hearing loss/tinnitus (you are extremely unlucky if you get significant permanent damage from one concert or performance where it was too loud), then decide to NOT bring ear plugs the next hundred times... Had my ears blasted as a teenager once, experienced tinnitus for about a week, never not worn ear plugs ever since while either playing or watching a concert.
This reminds me of Mike Oldfield's original Tubular Bells where he laid down all kinds of duplicate mono tracks panned left or right. It was so messy and cutting edge that it was epically great.
Tubular Bells was such a revolutionary record for the time. Oldfield is just that one-in-a-century sort of artist. He went a step beyond virtuosity, in my opinion.
Great video, Jake!
thank you!
I wish Jake was around to make this video 10 years ago when I was first getting into digital music lol, it took me years to figure a lot of this stuff out
Glad that Aimee is listening to Jake’s videos. I would love it if he started to be asked to be doing more collabs with you, Adam, David, Tantacrul and all the other music RUclipsrs. His teaching is amazingly clear and really helpful, and this video is another example of that.
Thanks its what im here for
@@jakevanslooten9026 :D
I love seeing all of these techniques side by side and how much quality improvement we can get from each technique you've rolled out!
A fun effect i like to do is record a nice clean electric guitar arpeggio part on a strat and record 5 takes, one with each pickup and pan them as equally across the stereo field for a really full and rich clean sound
Jake talks in such a relaxed and articulate way. I wish I could talk like that.
Just double-take your voice
One record where the double tracking is really noticeable is Seether’s Karma and Effect. The two guitar tones in each speaker are pretty different, and as far as I know, it isn’t triple tracked unless there’s also a lead playing.
I also didn’t know about the dual mic recording with acoustics! It’s something I’ve noticed, but it just sounded like two guitars playing at once, even in songs where I’m sure it’s only one guitar.
It's even easier to hear the double tracks there if you listen on earbuds, but just one at a time. Another option is to drag the mp3/wav into your DAW or even audacity, and just pan it left and right to hear the differences.
Paul Davids has a video on recording acoustic guitar. He uses two mics, but then he also pans the reverb of the two recordings to be opposite of their speaker. So the reverb from the left signal goes to the right speaker and vice versa. It's really quite interesting!
Gojira has this as well! Left is usually distorted guitar and right is a more crunchy guitar, which creates a huuuge sound
The only reason I knew about dual mics for acoustic was because I would see the kits sold at music stores, and they always came with two mics
@TheNerdyGinger Wow! That one was literally one of my favorite albums as I was growing up. Guitar tones on that album are brutal, especially the song named "Given." There was always something about rhythm guitars in that song. Later on, I figured out that they actually had a 6-string guitar in Drop B, and then they double-tracked it with a 7-string in standard tuning with some parts played slightly different and on different amp settings (I believe Shaun uses various Mesa Rectifiers for recordings as well)
You are super spot on about this misguided notion of playing perfectly is 'not rock 'n' roll'. I have never understood where the notion came from.
Sounding bad and making your listeners cringe even though you are 'feeling the music' is not rock 'n' roll - all the great rock and metal bands such as Megadeth, Metallica, The Beatles, etc sounded great and did not speed up or slow down too much in tempo when recording. Sure there might be a few imperfections here and there, but they still sound incredible relative to the entire mix, and that is NOT the same as not being able to play in time and giving a sloppy performance altogether. Great video Jake!
it's a combination of hero worship and dunning-kreuger effect IMO. I also think people want any excuse they can find to not work hard. But mostly, people romanticize rock stars as superhuman gods who just naturally could exude music without "working" or "learning". this then gives them a lifelong excuse to fail and underachieve and not even try- because they're not "magical" like their gods!
Exactly! It makes it so hard when people play very sloppily and say they're "rock." If I'm playing a song, I'll have a few measure of click so I start at the right time, but can recreate rather easily. A good player can keep a steady pulse with AND without a metronome
@@SignalsMusicStudio BOOM, now there's a truth-bomb if you ever need one!
It makes it even funnier if they’re using the bands you mentioned as examples of “feeling” the music, because all three groups were notoriously rabid perfectionists, especially when it came down to the recording of the songs themselves!
@@BirdmanDeuce26 partly why they were so good.
Imagine of every song on every album was done in one take. Completely different sounds.
i appreciate that you explore the parameters and show us the difference instead of just talking about it ❤
I believe that another example of why it's important to double track is by listening to anything the Foo Fighters have done. Since their inception, they have recorded almost everything on tape and some songs like My Hero showcase incredibly well done double tracking, especially for the drums. Dave Grohl has made it a point to practice so much that he and the band nail their double tracks just about every single time. They are a great example of modern musicians putting out sonically pleasing product and doing so by great skill.
Dave should move to North Korea.
Lol this is every professional band. It's not a Foo Fighters thing.
I mean it helps when your songs are simple radio rock.
Listen to the VERY BEGINNING of my track "What's Comin To Ya" to hear the double-tracked guitar thing that only occurs on one side, then appears in full. Very good example of how much energy is added with bass and drums!
Very interesting! I could probably never tell the difference before. It's all quite news to me! Thank you for the information
I see you all the time at Rudy's channel haha
@@anand8258 yep. That's me Haha
1:12 I was waiting for a Ronnie Van Zant one liner like "excuuuuuse me" and the drums to drop.
I was expecting the same from David Lee Roth!
Dude true. Rip Ronnie and Steve + Casey Gaines.
You have confirmed many things I learned on my own. I've used all these techniques and more. One technique I use a lot that didn't mention is vaguely similar to when you have the dual SM57's at two different spots recording one acoustic. First, I always use two mics recording acoustic or electric. But, unconventionally, I rarely use a matched mic. In terms of fairly affordable mics, I may take an SM57 (I love this mic and what an insane value at under $100) and a Rode NT5 pencil condenser. For an electric cab, I'll put the SM57 off center but close mic-ed. Then I'll take the Rode, which is too sensitive to stuck in the cab's face, and set it back a foot or two with a slightly different angle aimed at slightly different part of speaker cone. On top of this I typically have a large diaphragm condensor mic handling "room" sound and sometimes I DI using a an ABY switch. Each mic (even the DI) does through a voltage starved home studio 12AX7 pre (using different but Russian or comparable valves such as Genelex Gold Lion or Mullard, Tung-Sol, or JJ. The main amp has 12AX7 pres and KT88 power. This is crazy overkill to have 4 channels for one guitar part, but I have learned a lot doing this. Before I explain, let me tell you my vocal and acoustic guitar micing ritual. I'll use the SM57 close mic-ed pointed to about the 12th fret, then slightly farther back the NT5 point more towards the bridge. These two go through the pres with 12AX7s and I carefully adjust the gain between the pres and audio interface to get about the same signal level. For vocals, I do the same thing but with one mic slightly left and the other slightly right both pointing inwards towards the appropriate side of my mouth. Again I take care to keep over levels near parity. When doing acoustic or vocal I almost always hard pan each mic 100% to the left and other to the right. I will typically use slight differences in the reverb, chorus or EQ to accentuate the differences. I use an effects loop they brings the effects back towards center channel. Even for a simple podcast this creates a more live sound and makes it slightly more compelling to listen to. Now back to the electrics. We are blessed to live in the age of good, semi-pro home studio gear and the luxury of using four inputs on one guitar. Here I don't have a "always" solution, but I may pan the close mics left or right, but other times I only slightly pan so the sound is still mostly centered. I then take the two close mics and usually mix the SM57 loudest since it always records my Celestions with vintage tone whether clean, dirty, or filthy. The Rode NT5 isn't so great for guitar cans but has an ethereal sound. Sometimes I use it's output almost entirely to the effects bus and mute the dry signal. The room mic adds a live sound that I typically leave in the mix at 40% or so the output of the SM57. The direct in through the 12AX7 is often the most interesting option. It goes through the same pedal effects but bypasses the Blackstar Studio 10 KT88 or other low wattage all tube amp. Sometimes I will split the ABY right after the tuner so I get pure unsullied tone. How I mix that in varies from not at all, to heavy send to the busses, or mixed down the center to support the SM57. This is a lot of work and use for my more experimental projects. My goto everyday setup is two mics on the cab (sometimes an SM57 and it's cousin SM58 or the Rode NT5). I find the SM57 is always delicious clean or crunchy. I have a second SM57 on order as well as an sE ribbon mic. Often it's a $220 Squier Affinity Tele as the source (with upgrades), or a custom Fender Tele HH. Honestly I like the Squier sound through the Blackstar best. The KT88 and Affinity Tele were both pandemic purchases ($219 for Tele plus setup, $399 for Blackstar, all from Sweetwater) Added pedals and mics and purchased Logic Pro X and a new MacBook Pro 8-core i9 w/64GB RAM and 2GB SSD. I also have an Apple silicon MacBook Air M1 that I can use for acoustic when the sound of the fans of the big Mac are unacceptable. Excluding the price of the computers, Logic Pro X, and the HS8 monitors, I spent about $2000 to create a really fun guitar and synth recording room. The key thing that I do that is different from your suggestions is using mics with slightly different attributes and pan then extreme right and left (for vocals and acoustic) and I love the effect. I test listening back on Beyerdynamic DT770 Pro, Sony MDR 7506, Apple AirPods, HS8 studio monitors, and Klipsch computer THX speakers. I typically love the DT770 Pro the most, the HS8 next, Sony and so on. Fun topic. New subscriber!
youre taking one awesome moment and time and going over it with another awesome one.
Obligatory Internet pedantry: "stereo" doesn't mean "two" in the way "mono" means "one". That prefix would be "duo". "Stereo" means "solid, three-dimensional". Which is also an apt meaning for the improved sound from double tracking, and of course that 3D imaging was the reason the word was used to describe stereo audio equipment in the first place.
(So what's the counterpart to stereo, I hear none of you cry? Probably the Greek prefix would be something like "platy" (flat) or better yet "lepto" (flat and thin, like a ribbon).)
We now return you to Jake so you can learn something useful about music rather than trivia about linguistics.
I actually did a rant on stereo hearing in this vid and the footage somehow got lost ? regardless, good rant
Maybe we can bring that terminology into the lingo... Leptophonics
As long as we’re being pedantic here, _mono-_ is of Greek derivation, while _duo-_ is of Latin origin. The equivalent Greek-derived prefix would be _di-._
A note on the Haas Effect thing is that the sound will still cancel when not using headphones, since only headphones prevent the two signals from physically interacting.
Gonna have to research this myself. 40 ms should be plenty of time to change to phase. Edit: 40ms is in the MHz range, I'm going to assume You're correct. Lol
Listen to Yngwie Malmsteen's Black Star with headphones. Once panned hard right, once panned hard left, and once centered. Then realize there are two guitars perfectly harmonized a minor 3rd apart with blistering notes whizzing past your eardrums with a magnificence that only a god could create. Now imagine doing that at 19 years old.
I could only have done that at 19 years old... that part isn’t exactly surprising 😂
@@JamieClark Lol.
So just copy n paste with a 20 ms offset
@@BOBANDVEG You'd still need a harmonizer. The Eventide was still a couple years away at that time.
@@EarthAltar true words
This makes me feel really good, cause I'd kinda figured out a lot (but critically not all) of this by myself and via general observation of engineers without ever being taught explicitly what was going on and why. I made real double tracks of a lot of the parts for my cross-genre hiphop project but decided to cut out a lot of the attempts of double tracking on my blues album, because the big sound didn't sound right. Thanks heaps again for how amazingly clear all your videos are
Big Amateur here: I've watched so many acoustic recording videos and they all talk about dual Microphones. this is the first one that mentions dual stereo panning. This is soooo cool! Thanks
I was waiting and hoping you would mention Randy double and triple tracking his solos lol. It’s honestly kinda insane that he could and would do it regularly.
Wow. At 30ms, it felt like the music was around me. When centered, it felt like it was in the center of my brain.
I almost spaced out till the 7:00 min mark when you actually played a double track. Man what a difference !!
Really interesting info but the editing is top tier. Loved the acoustic fading from right & meeting in the center before it fades to the left
Spot on my friend. I've been working in studios producing since the 60's and have owned my own studio since 1988 and your video is well done and nicely explained. I am retired from the road now at 78 but still make youtube vids. One trick I have used, and there will be the occasional exception (such as when you only have one guitar backing up say a folk singer), but if you want an acoustic to sit nicely in a mix, but be clear and make a difference in the thickness of the mix, use a set of 10's when you restring if you're not already doing that. It gives a great deal of clarity and the bottom end won't muddy up the mix. Also, learn what your mikes "sound" like. Yes, you can do subtractive mixing to clear up larger strings somewhat, but it's not the same. There's a ton of information in the 400 hz to 800 hz region since almost everything starts down there. If you don't remove some of it you get mud. But other than that, you are certainly spot on with the info you provide here. Production is an art. We can never truly master it but it sure is fun trying! I am 78 and still learning and experimenting! You probably already know this, but don't always reach for the treble knob for clarity, turn down the bass or low mid knob. Subtractive eq does much more to the clarity than just adding more and more and more treble does. In the old days if we added too much treble we got more tape hiss. In today's world, you can add way too much treble without hiss being a problem to remind us. So many mixes I hear now are just way to brittle and the low end is still muddy. Loved your video! The first studio I worked in had two 2 track Ampex tape machines lol! A "punch in" was taking two or three takes and splicing the best parts together with a razor blade. Sounded great, but extremely limited compared to today's world. What we have to work with now is beyond amazing!!
I love this guy. Iv learned so much from you over the years Jake. . You take really complex and difficult music laws and principles, and dumb them down for people like me. Thanks for all your work brother 🙏🏻 Gr8ful I am.
Great explanation. I've instinctively always done this, but this was a bit deeper of a dive. Thanks!
This is a musical channel with major substance!!!🙏🏾🙏🏾🙏🏾
Man you dropped some gems in this video.
OMG….your RUclips channel is so good. In 20 years, seasoned and prolific musicians will be being interviewed and they’re going to credit you for their success. There are some really good music teachers on RUclips right now and you’re easily in the top three. Thank you. Thank you for making these videos. They’re invaluable.
Thanks for this great video!
_"You can quad track, 8 track, etc. I don't ever find a use for more than 4 on the same part."_
Symphonic orchestra often have tens of musicians playing the same partition at same time.
Of course, it's also for sound power (as they don't amplify), but I would say that it gives that musical richness and fullness that is achieved by multitracking in studio.
I've only played around with this on my simple 4-track, but it totally works, I love how the imperfection is actually desirable.
You've played around with this, huh? This is the way it's done in the professional world, so it's good that you approve.
I was wondering. Thanks for the follow-up.
you are my favorite music teacher you constantly answer problems I didn't even know I had
I am not a music producer, not a band member, not an instrument player, not a sound engineer, but i found this video super interesting and super cool. Thx
I noticed Randy’s double tracking in a ton of songs. When a huge lead comes in there’s just a sound you can’t exactly pinpoint that makes it different. It always sounded like the guitar was ripping through the speakers or headphones. It was a sound you can only get from the double-tracking. Most popularly the Crazy Train solo. There’s a section in there where he’s actually playing two almost identical sets of notes but there’s one or two notes that are different. You can’t really pinpoint it until you pick up a tab book or try to pick it out and you can get close, but what you play won’t match up perfectly because those two or three semitone separated notes mix together almost to form a new note or Atleast a new interpretation of those notes together that would not occur by playing the two simultaneously.
Don't forget mixing in the DI signal to acoustic guitar, it can really add to the attack. Also using a Nashville tuned guitar, electric or acoustic, can add something different too
I didn't fully realize this technique until after my band recorded our cd, to this day its my one looming regret on that album. A note for note double tracking of both guitars would have made the whole cd go from sounding good to sounding great.
Thank you to mention the Haas Effect. To me exceeding the 40 ms limit sounds like one core ingredient of the sound of the Black Rainbows.
I knew all of this already but you explained it so well, that I learned something new :-)
6:38 double track
7:59 triple track
------
8:54
Track 1
(C) Neck mic
10:03
*Track 1*
(L) Bridge mic
(R) Neck mic
11:12 - 11:41
*Track 1*
(L) Bridge mic
(L) Neck mic
*Track 2*
(R) Bridge mic
(R) Neck mic
12:18
*Track 1*
(L) Bridge mic
(L) Neck mic
*Track 2*
(R) Bridge mic
(R) Neck mic
*Track 3*
(C) Electric Guitar
true double tracking sounds much more rich and natural than copy-pasting, it's one of the simplest yet most powerful tricks one can do when recording!
also fun fact - Metallica's "Ride the lightning" had 8 perfectly synced rhythm guitar tracks if I recall correctly, hence the powerful tone
Adding too much tracks makes the tone sound smoother, softer and less precise, and that isn't always desirable for metal.
I think metallica down tuned and recorded slower to get them tight, then sped up the analog recordings until they were back in tune - those records aren't in perfect tune if you try to play along with that album. Some are sharp, some are a little flat. The tempo is all over the place too but it works.
Ride the Lighting isn't Metallica's best guitar tone, imo.
@@ilokikoval true, like said in the video multitracking isn't always a must. Though that depends on the guitarist, some can record lots of tracks and still sound tight as hell
@@60degreelobwedge82 oh yeah, that's another trick they used
Every time the guitar loop starts I keep waiting for Bruce Dickenson so start screaming _"Two! Minutes! To Miiiiiiidnight!"_
Thank goodness I’m not the only one haha
I keep hearing Metallica - Mercyful Fate!
This video helped me so much and told me something I really didn't know before - much, much appreciated!
I always recorded mono and haven't even heard of that method before. Learning a new thing every day! Thanks!
Great advice, another technique is to copy a track and pull sections from one performance and move them, ie cut the rhythm guitar second verse and move to the first, same with the chorus etc. Interesting results.
In the documentary "ZZ Top: That Little Ole Band from Texas" there is a story about the producer not wanting them record anything that they couldn't play live. But they couldn't get the sound they wanted. The engineer knew how to get the sound they wanted, so they sent the producer out to get fried chicken from a certain place nowhere near the studio. The engineer had Billy Gibbons record his part once but told him to not make it too complicated. Then he told him to pull on his strings so the guitar was slightly detuned. They then recorded the same part again and nailed the sound. The producer got back and after griping about how far he had to go to get chicken heard the sound and said that was it.
they should have called the sound double chickened
I've been using Cypress TT-15 panning L & R but changing the "EQ/compression settings, etc." so they sound different. But I suppose they're still the same thing. I know Gojira in the most recent album(s) have been using 2 mics per guitar for a total of 4 guitar tracks BUT they are using 2 guitars effectively playing the same thing. So 4 "slightly" different sounds from 2 different guitar(s)/and more importantly guitarists. I'm going to try to recording with the Cypress TT-15 (L or whatever), then pull on my strings and then playing with my Pignose through an SM58 on the other side and see what happens. Thank you for the story!
just watched that doc last week, spot on about everything but i believe it was BBQ ribs😄
That’s a cool story!
I've got a free music lessons and everything about recording from this channel. Big Thanks! Been a subcriber for a long time.
Probably one of the best and easily understandable music production tutorials/explanations I have stumbled across. Well done and thank you.
Dude your videos and knowledge is utterly incredible. I mean this next bit with the greatest of respect and admiration... you look like your 18, but your knowledge and wisdom is like your 100.
Keep up the fantastic work. You have a great gift as a teacher, and am grateful you're happy to share your knowledge.
Thank you for the information.
Also, Randy Rhoads was one of THE best.
This was an excellent demonstration! I'm old school (came of age in the 80s). If you want something doubled, you gotta put one can on, and match your performance! Chops are required. The DAW technology doesn't change my approach.
Because it actually sounds like 2 players
Thanks for liking comment you helped me alot with music theory and songwriting thank you.
As a beginning songwriter snd recorder, this video really helps. Thanks a lot for this!
I LOVE YOUR RECORDING AND HOME STUDIO TIPS! I hope you do more videos like this!
This is why Nirvana's Nevermind guitars sound so great.
That makes sense. It never sounded quite right to me when I tried to play Smells like Teen Spirit. I'm sure most was my skill level, but the sound didn't sound right, either. That song is both an easy song, and an incredibly hard song to play. For me, at least. Cheers to ya.
@@davespringer777 He mentioned a whole album and you’re talking about one specific song.
@@hellodumplings8564 ah, ty. Deleted most of my comment to rewrite. Didn't notice it deleted the song name. I understand that made no sense without it. I fixed it. Thanks for bringing it to my attention.
@@davespringer777 lol, no problem bro
Yeah, Butch Vig, the producer on that album, said Kurt Cobain was TOTALLY against overdubbing guitars. Since Cobain was a John Lennon nut, Vig said he had to constantly say, “come on, man, John Lennon did it.” Other times Vig said he had to trick Cobain into doing overdubs by lying and saying that the first take had some issues so they needed to go again. Needless to say, those lies and Lennon references made a masterpiece.
I definitely love the doubled acoustic wif de electric in da middue
triple and quad tracking?? pfff *laughs in Smashing Pumpkins*
Siamese dream is amazing when you start to pay attention to the guitars, it's almost like a symphony of guitars is all songs, there must be around 30 guitar tracks at least in each song hahaha
bro... you're my new fav YT dude!! you a pleasure to watch and listen to. super thorough.
Thank you for the detailed information.
I'd just like to add : Having only one functionnal ear, I guarantee you that even with my headphone/computer/phone/whatever configured to automatically convert to mono, I can ear the difference. It actually _sounds_ different, filling in the whole sound pane (don't know how to exaplain the feeling!).