How To Add Clarity To Your Heavy Guitar Tracks INSTANTLY
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- Опубликовано: 7 авг 2024
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Producing heavy guitar tones that cut through your mixes with clarity can have a massive impact on the overall sound of your productions. One of the biggest challenges we all face as recording engineers is producing mixes that are both punchy and clear.
The truth is that the heavier and more dense the music is, the more difficult it is to achieve that clarity we're all after. A huge part of the overall sound of your mix comes from your guitar tone.
If your guitar tone is muddy and unclear, your overall mix will be muddy and unclear. In this video, I share my favorite mixing trick for adding clarity to heavy guitar tracks.
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I recently checked the isolated guitar tracks of Smashing Pumpkins - Today and my mind was blown. Behind all the fuzzed out 11-ed guitars there was an acoustic guitar track blent in. They probably figured in the studio that all the fuzz makes them lose clarity so they added an acoustic. You'd never notice it with the other instruments on, and that's the genius of it.
Your tutorials are so well thought out, with the PDF, video and multitracks. Each segment covering a single instrument. I'm digging this! 👍
Awesome Trick! Will
Try this during my evening mixing session.
Thanks ! 🤘🏻
Great Trick!
I actually came up with this idea myself lately since my Fuzzy/HM-2-like rhythm guitars with lots of low mids just got lost in the mix. The compression is something that might even further improve my tone, thanks!
Nice! I'm working on a project right now that I can't wait to try this on. Interesting trick on the delay tecnique!
I first heard about this trick from an Andrew Wade mixing tutorial (A Day to Remember). However this is much more robust, with using some grime on the DI's and delay for offset blending. Really great tip, and I hope to start recording again soon!
I have used this trick before. Technically, this is what I still do with my stereo pedalboard/2 amps rig, and what I generally seek to recreate with amp sims. The Orange amp + Precision Drive sound of my main tone is more of a boosted pop punk or mid-gain hard rock tone - think Jimmy Eats World, Goo Goo Dolls meets ADTR - and then the distortion pedal sound of the other side of the rig is very dense, compressed, and gainy. It's a Joyo Uzi into a TC Eyemaster into a Turbo Rat, witch runs into some kind of Marshall amp on low gain/edge of breakup or clean, usually, where I sometimes turn the Eyemaster off for some songs/some parts of songs. The difference is, I make the lower gain tone more prevalent, and the higher gain, fucked up sounding chainsaw side is more in the background. Jim Root of Slipknot has a similar setup for his live rig, too. He uses a Rockerberb 100 MKII, unboosted, on medium gain, then he uses 2 Rockerverb 50 MKIII amps (one at a time - one is set clean, and he uses an amp switcher) boosted with a clean boost pedal, and then he uses some other high gain amp boosted with an overdrive. That other amp has been a VH4, a Friedman BE-OD, and at one point I think he even used an EVH 5150 III EL34, across different points in time/different tours. All his gain comes from the other amps, and then the overall volume and tone comes from his main Rockerverb MK II amp.
Awesome tips mate, thanks. I tried this exact technique on my vocals to huge effect. Gotta try it on guitars for my next release!
You’re a genius Bobby! I really appreciate you showing stuff like this in great detail. 👍
Happy to help!
Great technique. I often use something like this as my 3rd bass track, one for the lows, one for distortion, and than one more with some crunch to get a bit more clarity and pick attack.
Dude thank you! I am going to try this on my new EP!
Great tips, Bobby!
I use the DI tracks in my mixes, but I've never done it in this particular fashion. I have some recording to do after work today, so I'm gonna give this a try and see how it sounds with my stuff!
awesome trick!!
I usually use a Marshall-style amp sim (no overdrive in front) and blend it in with the higher gain amps. My go-to is a JCM800 sim, but anything from a Plexi to a hot-rodded Marshall a la Fortin Cali, Bogner Ecstasy or Wizard etc should work fine. I find most Marshall-style amps to have great pick attack and upper mid presence, so they are perfect to bring out some grit and clarity from an otherwise mushy tone. It doesn't have to have a ton of gain, just enough that it blends in with the other amp well. Think AC/DC levels of distortion. It's very similar to what Bobby does here, just a different way of getting there.
That sounds like a great trick and I'm definitely going to be trying that.
Hey @nj1255, what amp sim do you use for JCM 800?
Jerry Fin approved 👍🏼
Whats your favorite Marshall amp sims? I been using audio assault prestige lately. I'm hoping Bogren does a Marshall inspired amp knob some day, his others are killer
@@CryptToneMusic the new audio assault britone is a great marshall sim also. And the fortin cali from neural dsp.
That's how I make my bass sound good , Especially with fuzz or distortion involved. DI Boxes are a game changer.
I've tried this before, but I don't think I did it well. I think I'll give it another go. Thanks!
I love how you explain things, make my brain work 😅
That track is beautiful. Damn 👍🏻
Nice one Bobby. Make me think... could this technique go even further? First thing in mind is automating it to pop up only on choruses, just to give them a little extra something. Rock on 🤟
Interesting stuff!! I wonder if this principle is why Adam Jones from Tool blends the High gain sound from his Diezel amps with a cleaner sound from a Marshall plexi? Also live. It could make sense :)
Great🔥
Can I edit guitar audio track which is recorded through audio interface(no DI device)?
I heard that guitar track from DI gives more clarity and clear transient which helps in guitar editing process
Who is the band you are mixing, They sound terrific.
Nice Fear Factory/Dino Cazares Guitar vibes 🤘🏼
What band is playing the song ur mixing? I really dig that song
Great tone! Could you tell us about the band?
auto align at the end of your processing could get you as phase accurate as possible. also could just tell you in samples how far to scooch the DI… lots of ways to complete this
Indeed! I usually add waveshape distortion in Reaper to reduce the "pikeyness" of the original tracks.
Hey Bobby, Always learning alot from the channel. Just recently recorded home guitars for single with just amp sims, split L and R with the 2 extra Di recorded simultaneously. Unfortunately my assumption was DI signal is just a clean tone from an amp sim through interface opposed to having no color on the signal. And I have no Di box. If i were to simply just take the clean amp sim off, are my DI tracks still usable as DI tracks? Been trying to get my head around this.
Hi! Unless your ampsims were ''printed'' on the way in (Studio One can do this, probably other DAW too, but i don't recommend doing it) or you used pedals between the guitar and the interface when recording (also not recommended), you pretty much have a clean DI. And if it isn't clipping (it shouldn't, otherwise you would have re-tracked the part..right), it is fully usable. Also DI boxes are handy, but in no way essentials. Hope it help. 🤟
Screamer is godly with it
How bout for metal vocal? Can u make simple tips and tricks. 😊
I did not know about the trick, but I'm about to try it for sure! Thanks as always!
Plugins usually have different latencies so using a delay to get them to sync makes sense if you're using different plugins on each track.
all modern DAW do it for you. You shouldn't add any delay
You should if you want to mess with the phase relationship.
I wonder what it would sound like if you treated the di track the same as a bass guitar, where you separate it into three different tracks
Handy...
Super interesting delay trick. Have you tried this with guitars that have been tracked with a live amp?
Yes, I use it with live amps all of the time.
Before AutoAlign plugin I used an impulse pike to see how much was the delay of the recorded signal compared to the DI. Basically during reamping I just drew 1 sample before the actual track started. Then you check for how far it traveled.
Hell yeah. Thanks man!@@FrightboxRecording
How about getting rid of "pick chirp".
Play a metal riff, maybe on A or D string while stumming. Single string.
Pick angle, different pick thickness and material, etc.
Are the amp sims actually necessary for the di track? Is it just a clean tone with a touch of gain and an IR?
No, I do this all the time with real amps as well. You just have to make sure you split your signal with a DI box when recording.
@@FrightboxRecording sorry Bobby. What I meant was "what type of setting are you using on that sansamp vst to color your di?"
Thanks for the tip! I still don't understand what you mean with "committing to your amps". Are you referring to render the DI track as a separate track and then applying the AMP to that new rendered track and then render that again? Sorry if the question is dumb, I'm just confused.
You got it right! Duplicate your DI track, Amp sim goes on one of the two, this track then gets rendered/ frozen/ printed (whatever it's called in your DAW.) The other track gets the DI treatment Bobby shows here. Rinse and repeat for the double track.
@@robertwagner8317 Excellent! Thank you so much!!!
You're welcome, my dude!
10 ms delay for both DI tracks or only 1 of them?
Both, otherwise the phase issue would persist with the undelayed track.
Great video, Bobby! I have a question you might’ve been asked before, but I find that my hardpanned guitars decrease in volume a lot more than I’d expect when coming out of a mono speakers. I’m not doing anything special, just hardpanning and adding stock binaural pan in Studio One (which when I audition in mono, changed nothing about the volume of guitars.) All my favorite tracks sound wide in stereo but the guitars don’t decrease in volume as hard as mine. I wish I knew what I were doing wrong. If this isn’t the right place to ask, I apologize, but I figured you’ve had this problem before. Thanks!
That’s just the result of summing to mono, you’re losing half the volume with anything hard panned. Still just simple arithmetic.
You want a track in the centre because that won’t decrease in volume when summed to mono. In fact it can be a good idea to not pan important moments of guitar, such as riffs, solos etc at all and you’ll be surprised how often that happens.
@@3rdStoreyChemist All my favorite tracks have guitars that sound just fine in mono, but mine just disappears
@@maxalaintwo3578 Yes, usually because there’s a guitar track that is panned centre. The balance between the side and mid tracks will often be varied based on the guitar’s function in that section of the track.
@@3rdStoreyChemist You mean to tell me all those tutorials that have simple double panned tracks are just lying to us?
@@maxalaintwo3578 Not necessarily lying, but you’re not being told the full truth. Look into LCR mixing and mono compatibility. It’s also quite likely that a lot of channels aren’t operated by trained audio engineers and are just people repeating things they’ve heard without fully understanding things.
I think it was Forty Six & 2 by Tool that reminded me that stereo width isn’t everything.
Are the di tracks just copy pasted from the distortion gtrs?
You capture DI same time you are micing guitars. Now you have DI of exact same performance and can add sim to DI and mix accordingly
What's DI?
Only guitar without any effects or amp
Do you share your impulse response?
frightboxrecordingacademy.com/free-impulse-response/
@@FrightboxRecording appreciate it
Nobody:
Lego Yoda: 2:34
I want instant clarity 🙋♂
Hell Yeah!
Or just less gain on the amp 🤷♂️
It depends on the genre, I use both approaches.
My ears are messed up, I couldn't hear any difference! 😭
I wasn’t hearing it at all either but listening on YT with cheap buds on my phone, so not surprised.
Just set the guitar high pass filter to 200 Hz. It's a guitar, not bass and not drums