Feb 212015
 

Last time we discussed double-tracking problems you can avoid by doing Guitar 1 well, so this time we’ll cover the same for Guitar 2, with more modern home studio audio recording techniques and tips to help you record your guitar solos.

Aside from the difficulties mentioned under “Performance Issues” below, there are some disadvantages to double-tracking:

  • Some people feel a doubled performance has less character
  • It takes longer to record (which may mean more money)
  • If you don’t double track something challenging, other guitarists may assume you couldn’t
  • Mixing becomes more difficult if you want your rhythm parts to be heard clearly

Let’s tackle these one by one. It’s true that individual character can be overshadowed, but this will depend largely on your style. More improvisational players are more affected, but some find it easy to play something repeatedly. It’s a judgment call only you can make. In exchange for some individuality, you get a thicker, fuller sound. One or the other will be worth its weight in gold to you.

If you record in your own studio, the extra time for double-tracking won’t cost more money, but in either case, consider this: if it takes you 20 minutes to record Guitar 1, it will not take you another 20 minutes to record Guitar 2. In my experience, it takes a quarter of the time for Guitar 2 (5 minutes). This happens because your playing is already smoking by the time Guitar 1 is done. If you’re not improvising, you’ve also been playing the same line for 20 minutes.

As for guitarists assuming you couldn’t double track something, not every guitarist has this competitive attitude. Many are just good musicians who, like you (hopefully), care more about the song than their ego.

Mixing Issues

Problem: Muddled mix. If you’re a metal head, the traditional mixing approach is riffs hard-panned right and left, lead guitar straight up the middle, but the whole point of double-tracking is to have full stereo leads, usually hard panned, too. Now you’ve buried your rhythm section!

Solutions:

  • Be nice to your mixing engineer and make sure he knows what you want, for his skills can keep an interesting riff audible beneath double-tracked leads, using a combination of compression, tone tweaking, riding the faders, and careful use of that big reverb/delay you have on that solo
  • A well-chosen lead tone will help it stand out without burying your riffs
  • Write a simple rhythm section so there’s nothing to miss. If you’re the only guitarist, your bassist must hold down the riffs alone live anyway, so you may as well go for simple chords under your solo. For songs with vocals and a lone guitarist, this is the traditional approach
  • Double-track leads over simple chords, but single-track leads when the riffs are interesting

Problem: Mix balance during harmonies and dual-lead lines. If Guitars 1and 2 play in unison and then break into harmony, or into two completely different lines (Guitar 1 is a slow melody while Guitar 2 is a fast scale), both guitars may sound quieter overall.

Solutions: Both issues can be solved by double-tracking the original lead all the way (Guitars 1 and 2), then make the harmony/dual part into Guitar 3 (and maybe Guitar 4, if you double-track this, too). Be aware that you’re more likely to bury the riffs this way. A lesser solution is to raise the volume where needed, though this doesn’t always work.

Performance Issues

In the previous column, I mentioned using two different articulations for Guitars 1 and 2, in which case the performance will not be exact by definition. If you use the pick throughout Guitar 1 but use slurs within Guitar 2, for example, you may have to experiment with exactly what is different (and when) to make this sound good with full stereo separation. Sometimes there’s no choice but to put both guitars in the middle of the mix instead.

Problem: Timing. This is the most obvious issue with double tracking and is why most people don’t do it.

Solutions: Practice. Guitarists practice all sorts of things with a metronome, but you need to practice double tracking itself. There’s nothing like playing along with yourself to discover how inaccurate your timing is. You need to learn your own habits to fix them.

  • Find a rhythm guitar part (or entire song) with a fair amount of activity. What you need is something with both steady motion and briefly held chords, preferably in alternation. The reason is that you may speed up or slow down when switching. If the rhythm part is constant 16th notes, that won’t help much. Neither will long held chords. Without using a drum machine or click track, record yourself playing the rhythm(s) for several minutes. Then put on the headphones and double track it. Pay attention to every place where you rushed (or are rushing now). If you realize the original performance was bad, redo Guitar 1, then try doing Guitar 2 again. Keep doing it until you succeed or get better
  • Do it with many songs, harder songs, with lead guitar, and finally with a drum beat
  • Do it for weeks, months, and years. When you eventually lay down a smoking, complicated guitar part and then double it exactly before everyone’s stunned ears, no one needs to know how much you practiced

Problem: Headphones are cramping your style. Whether ear fatigue, the cord getting in the way of your windmills, or just a fashion emergency, headphones can drive people crazy when recording, so how do you double-track without them?

Solutions:

  • Don’t use them during Guitar 1, just during Guitar 2
  • Don’t use headphones during recording, only during playback to verify the guitars match. This can be tricky while playing (too many sounds might be bouncing around in the room, making it hard to focus)
  • After recording Guitar 1, turn off Guitar 1 altogether while performing Guitar 2 “blind” and without headphones. Verify they match during playback, using headphones. This is tricky but impresses witnesses. If you’re getting frustrated and/or feel your spontaneity is going away, this can also make you feel free again

Problem: Guitar 2 out of tune. Sometimes the guitar just goes out and you can’t get it back in tune with Guitar 1. Now what?

Solutions:

  • Recording Guitar 2 ASAP after Guitar 1 helps avoid this, but not always
  • If the performance has extreme bends at the end, record right up to that note, stop short of it, do the double tracking, then add the bend to both tracks via punch-in afterwards
  • Sometimes only a few pitches are off, so just record Guitar 2, then re-tune the offending notes and re-perform them via punch-in
  • If the notes on only one string are off, play those notes on a string that’s in tune. This may change the tone, however
  • If the notes are flat, you can try slightly bending them up when playing, but this may not work either because the note goes by too quickly or because you’re doing vibrato or something else while sitting on that note
  • The culprit might be the riffs, which can sound perfect until you play lead over them and a slightly bent string in the riff causes this
  • If all of Guitar 2 is out, you can save Guitar 1 and do another Guitar 1 and then Guitar 2. Otherwise, erase Guitar 1 and start over
  • Finally, you can always try for Guitar 2 on another day, but you may play differently then. In 20 years, I don’t think I’ve ever once doubled something more than one hour after I did Guitar 1

Problem: Final note doesn’t end at the same time. Sometimes you let go off the last note at different times for each guitar, or one has better sustain. We’re not talking huge differences here, but even small ones can sound bad, especially if there’s a rest in the whole band right then or your digital delay repeats the two slightly-off endings over and over!

Solutions:

  • Re-perform it. This is not good if the performance was otherwise great. Besides, you may miss again
  • Punch-in just to fix that. A good bet, though you can still miss
  • Fix it in the mix. Use the automation features of your recording system, ala ProTools, to mute the note that goes longer so it ends when you want it to. If your signal routing is set-up right, when you mute the offending guitar, its last note will still go into the delay unit to avoid an unnatural cut-off there. And yes, this is cheating, but so is punching in. To be accurate, mute both leads at once by grouping them. Your mixing engineer may have other solutions, such as fading out the notes before they end
To Double-Track Or Not To Double-Track

If you decide to double-track certain lead phrases and not others, it is good to know this in advance. After all, let’s say you decided to double something, did so, and change your mind later? Simple. You just turn off one guitar. But what if you didn’t double it and now wished you had? Can you get the gear set up (if it’s gone) and re-perform it days or weeks later? My solution is simply to double everything and make my decisions during mixing, but I own my studio and am a glutton for punishment.

So is double-tracking worth it? Here’s a final thought. It often sounds good to double your themes, which tend to be simple and easier, and not double your more solo-like passages. You keep spontaneity where you need it and get fuller sounding themes. It’s the best of both worlds.

Best of luck, and may your fingers fly true…both times.

Double-Tracking Lead Guitars, Part 1

In an age when few want to play lead guitar at all, not to mention twice, an article on double-tracking guitar solos might seem pointless, but for those players keeping the faith, this one’s for you. We’ll discuss the pros and cons of double-tracking lead guitars and ways to get around common problems. For those […]

0 comments

Double-Tracking Lead Guitars, Part 2

Last time we discussed double-tracking problems you can avoid by doing Guitar 1 well, so this time we’ll cover the same for Guitar 2, with more modern home studio audio recording techniques and tips to help you record your guitar solos. Aside from the difficulties mentioned under “Performance Issues” below, there are some disadvantages to […]

0 comments

How To Re-Amp Guitars

If you’re like me, you’re not really an audio engineer despite all your research and efforts into capturing high quality sound in your home studio. Though it’s increasingly easy to buy quality gear, that doesn’t mean you have the training or experience to master it. Enrolling in engineering school, sound proofing your house, and upgrading […]

0 comments
Feb 212015
 

In an age when few want to play lead guitar at all, not to mention twice, an article on double-tracking guitar solos might seem pointless, but for those players keeping the faith, this one’s for you.

We’ll discuss the pros and cons of double-tracking lead guitars and ways to get around common problems. For those new to the concept, double-tracking is when the guitarist performs and records the same exact part twice, usually turning one performance to the left side of the mix and the other to the right. It’s frequently done for rhythm guitars, but less often with leads. What follows are some modern home studio audio recording techniques and tips to help you record these guitar solos.

How To Do It

First off, why double track? Lots of reasons:

  • Two guitars performing the same thing sounds fuller (like a chorus compared to a single voice)
  • Alternating between doubled and single-guitar creates variation
  • You can use two different guitar sounds for a new tone
  • You can use two different articulations (one legato, one staccato)
  • After a decade of no guitar solos in popular music, we have to double-up to make up for lost time
  • Impress other guitarists

If all of that sounds good to you (and I know the last one does), here’s how to do it.

The Method

For starters, you should be able to play the lead part note for note, so take some time to memorize it. Some feel this will rob their lead playing of spontaneity, but if you feel this is true, just improvise your first performance (“Guitar 1”) and then learn it for the doubling (“Guitar 2”).

In theory, double-tracking is simple. Just record Guitar 1 like any other lead part, then turn Guitar 1 all the way to the left (or right). Turn the live Guitar 2 to the other side. Then, wearing headphones, listen closely to Guitar 1 while recording Guitar 2. That’s it!

Problems and Solutions

If that sounds too easy, you’re right. There are a lot of problems to worry about, but you can avoid some by doing Guitar 1 well, so we’ll focus on that first.

When you record Guitar 1, be sure that there are no strange anomalies within your phrasing or timing that you cannot duplicate. The tremolo bar is a good example. You’ve got to repeat any dive bombs or other tricks exactly later. Pinch-harmonics are another problem, as it’s hard to get the exact harmonic you want. Any harmonic will often do the trick, too, so you’ve probably learned to not care which one you get. The good news is that getting a different harmonic (or none at all) on Guitar 2 can work fine or be better. I did this on purpose on “Still at Large” from my album, The Firebard.

 

Slides can be easier, since they’re sloppy anyway, but that only helps with fast slides. These should start from the same place (roughly) and go the same distance at the same speed. It helps to improvise a couple times and notice where you’re starting. If the slide is prominent and in the rhythm track, you can try one of my tricks, which is to start Guitar 1 from a certain note, such as A in A major, and slide Guitar 2 from C#, so they start in harmony.

Slow, expressive slides are more trouble. These need to start from the same place more exactly. The amount of finger pressure can be a factor in the slide’s sound, too. This is more problematic when that pressure must change as you go, and if the slide’s speed changes. All you can do is practice and be aware of speed, pressure, start and stop point, and the emphasis placed on the destination note (how much pressure and vibrato are you using?).

Bends are tough, too. If you’re not consistent and precise with the speed of your bend, hold, and release, the variation when you double will be out of tune. Quickly bent and released notes can be easier, but don’t count on it. You may be more consistent with a given technique, such as bending with your fingers, the Floyd Rose, or the old tuner trick, but you won’t really know until you try doubling and simply can’t do it. To make matters worse, bending is generally an expressive thing, so being controlled about it may rub you the wrong way. The solution is good technique through practice.

Vibrato usually isn’t an issue because most people tend to use the same vibrato each time they play a line, so you may be in luck here. It tends to be applied unconsciously as well, meaning you’ll do it the same without ever realizing it. Still, make note of what you’re doing and the speed of your vibrato. If the lead is almost painfully slow, with long drawn-out notes and vibrato that starts after a few beats, then changes speeds and vibrato types, these variations create more room for error. Then again, such a lead is so expressive that doubling is probably not wise anyway. This is one reason I didn’t double the final lead guitar on “Epic” (many slow slides were the other)

Finally, extraneous noise in Guitar 1 is hard to duplicate exactly, and why would you want to? If Guitar 1 was perfect except for some weird sound in it, you have ask yourself how important doubling is and how noticeable the sound is. A finger sliding on a string can be easier to duplicate, and if only one side does this, it can be okay. It’s a judgment call. With recording software like ProTools, it’s possible to fix it in the mix, but if you aren’t sure, double-track anyway and worry about it later. You can always turn Guitar 2 (or 1) off. You could also save the Guitar 1 with noise but re-perform it. >Maybe another attempt would be even better – and not have the noise.

If you’re starting to think all of this is an endorsement for speed, because that would reduce bends, vibrato, and slides as issues, not so fast. That’s when timing becomes the biggest issue of all. Without good timing on Guitar 1, you’ll really feel the pain later. Practicing with a metronome, while a good habit, may not help with a troubling passage. Maybe the drum groove or rhythm guitars are slightly off, or DAW-induced latency is disturbing your feel, or you’re just having a bad day and can’t do something right. What to do?

It sometimes helps to hard-pan Guitar 1 to one side while playing it, and/or wear headphones. This way, you can focus on the rhythm section on one side while fitting in your lead notes on the other. Turning down the lead guitar helps, too, for if the lead is too loud while you’re playing, it obscures the timing underneath. For latency, try reducing or eliminating it altogether with a no-latency setting. Be aware that on some days, your sense of timing will simply be different/off, just as you might like a guitar sound one day and think it’s terrible the next. Perseverance is king.

Coda

If all of this is starting to sound impossible, just wait until Part 2 of this column! Seriously, though, double-tracking is not as hard as it seems. With a little practice it can even be fun, and most of these ideas will help you get a great performance for Guitar 1 anyway. You also might be more ready for doubling than you think. Try doing it a few times and see what your problem areas are, then work on them. Next time, we’ll focus on the more problematic Guitar 2.

Double-Tracking Lead Guitars, Part 1

In an age when few want to play lead guitar at all, not to mention twice, an article on double-tracking guitar solos might seem pointless, but for those players keeping the faith, this one’s for you. We’ll discuss the pros and cons of double-tracking lead guitars and ways to get around common problems. For those […]

0 comments

Double-Tracking Lead Guitars, Part 2

Last time we discussed double-tracking problems you can avoid by doing Guitar 1 well, so this time we’ll cover the same for Guitar 2, with more modern home studio audio recording techniques and tips to help you record your guitar solos. Aside from the difficulties mentioned under “Performance Issues” below, there are some disadvantages to […]

0 comments

How To Re-Amp Guitars

If you’re like me, you’re not really an audio engineer despite all your research and efforts into capturing high quality sound in your home studio. Though it’s increasingly easy to buy quality gear, that doesn’t mean you have the training or experience to master it. Enrolling in engineering school, sound proofing your house, and upgrading […]

0 comments
Feb 212015
 

If you’re like me, you’re not really an audio engineer despite all your research and efforts into capturing high quality sound in your home studio. Though it’s increasingly easy to buy quality gear, that doesn’t mean you have the training or experience to master it. Enrolling in engineering school, sound proofing your house, and upgrading thousands in gear is all time consuming and expensive. Fortunately, there’s an easy and fairly cheap way to record great sounding guitars. It’s called re-amping.

Re-Amping Explained

Re-amping is when you change the sound of a guitar amp on a recording after it was recorded, thus “re-amping” it. In order for this to work, the pre-recorded signal must be the one directly from a guitar. It can’t have already gone through an amp before it was recorded because the sound of that amp is permanently part of the recording. This requires a little planning and at least one special piece of gear.

The chief goal of re-amping is the ability to keep your performance but change the amp’s sound after the fact. This has several advantages:

  • Your great performance doesn’t have to be redone if the original sound quality was poor
  • You can experiment with sounds after performing, too
  • You can re-amp in a pro studio with top gear and engineers, and at a fraction of the cost
  • You don’t have to be loud when recording and yet can still use a loud, live amp
How To Record
Pro Tools 9 running on Windows

Pro Tools 9 running on Windows (Photo credit: Wikipedia)

In the traditional approach to recording, the guitar signal goes through any effects you’re using, into your amp and then out the amp’s speakers. Microphones then transmit this sound to tape, often after the signal passes through studio effects. All of this happens in a soundproofed room with expensive gear.

With re-amping, the process is different. The signal from your guitar may still go through your effects, but most of this should be avoided. You can still add these effects later during re-amping. The exception to this is the wah pedal, since your performance is both your hands and what you’re doing with that pedal, but this can also be added during re-amping, though it can feel weird to do so.

The signal from your guitar should go into a direct box such as the SansAmp XDI, which converts the guitar’s high impedance output to a low one required by mixing consoles. It also reduces the chance of electrical disturbance from nearby objects.

After this, you have to get your signal into your recorder somehow. There are many options for this but since I’m no expert, I will focus on computer based recording as I did it on my new album, Some Things Are Better Left Unsaid. You should still be able to take the principles and apply them to your own situation.

My Setup For Recording

Re-ampIf you’ve already got a computer based recording system, you already have an interface for getting signals directly into your computer software. In my case, I am using Digidesign Pro Tools LE with the Digi 001 interface for it. The signal from my guitar goes through the direct box and then straight into one of the Digi 001’s inputs. From there the signal goes into the computer and Pro Tools.

There are two basic kinds of tracks I use in Pro Tools: Audio and Aux. The Audio tracks are where the guitar is actually recorded, but I don’t always want to record. Sometimes I just want to play along with other recorded tracks, and even when I do record I want to simply flip a button or two and be ready to roll, so I have several Aux tracks set up:

  • “Play” Aux (Stereo) – takes the guitar input and routes the signal to “Amp” Aux. No effects.
  • “RecordGtr” Aux (Mono) – takes the guitar input and routes it to bus 4 (the input for all Audio tracks). I can also control the level sent to Audio tracks with this. No effects.
  • “Amp” Aux (Stereo) – receives input from either “Play”; or “GuitarLeft” and/or “GuitarRight”, and routes output to “GuitarMaster”. Has noise gate and amp simulator plug-in on it.
  • “GuitarMaster” Aux – receives output of “Amp” and adds reverb.

Of course, in addition to these, I have the actual Audio tracks for however many guitars I need. Let’s keep it simple and say it’s two rhythm guitars: right and left. So I also have this.

  • “GuitarLeft” Audio (Mono) – receives input of “RecordGtr” on bus 4, and routes to “Amp” Aux. No effects.
  • “GuitarRight”. Same. One is panned left, the other right.

Since I generally perform rock music, I want it to sound distorted, so how do I do that without using an amp? I use an amp simulator. In my case, it’s the SansAmp PSA-1 software plug in that now ships with Pro Tools. This is only found on the “Amp” Aux track (indicated by “SAP1” on the picture).

You’ll notice there are no effects on any of these except “Amp” and “GuitarMaster”. This means the signal from the guitar is going to the hard drive bare as the day it was born. Only after that is it routed into effects. This is how you preserve the original signal and still hear distortion or whatever effects you have loaded on your DAW (Digital Audio Workstation) as you perform. You simply place these effects after the audio tracks in the signal chain.

To go from playing along to recording, all I have to do is mute “Play”, record enable an audio track, and hit the record button. The latter two steps are mandatory for everyone anyway, so with this setup I have only one extra button to push. When recording a guitar hard panned to one side, I usually want to hear the guitar on both sides, so instead of muting I often just changing the panning on the “Play” track to be opposite of the recorded track, and these can include anything from flangers, to a chorus, reverb, delay, phaser, EQ, etc.

Re-Amping

ReampingNow that you’ve recorded your masterpiece with the raw guitar signal, hearing a workable amp tone in the process, it’s time to change your mind about what it sounds like. This is the real power of re-amping!

The simplest version of re-amping is this: launch the amp simulator, turn the dials, and viola: you have re-amped. If you really want top level results, however, nothing substitutes for a real amp cranked up and recorded with high quality gear by an engineer who knows far more than you do about what he’s doing.

There’s nothing unusual about this, with one exception. Just as you used a direct box to change the impedance and otherwise improve the signal quality going into your computer, you now need something similar to reverse it. The Radial X-Amp is designed for this purpose, and the pro studio may already have one. You just route the signal from the mixing console into this and out the other side, and then straight into your amp unless you want to go through your pedal board first, for example. Otherwise it’s pure traditional recording, except you’re twiddling your thumbs in the control room instead of sweating over your performance and how much your multiple takes are costing you. You and your engineer are also able to tweak your amp sound to fit better in the mix with the drums and bass.

When I re-amped my album, I decided to add a wah to one lead guitar phrase and easily did so simply by placing the wah before the amp in the signal path, just like normal. My engineer set this up so that I stood in the control room while doing it. If I had wanted to add other traditional pedals, such as a phaser, I could have done this, too, but I ended up using studio effect instead partly to further keep my options open.

Another cool trick we did was simulating the sound of a guitar with the volume knob turned down. We just turned down the volume control on the X-Amp. It sounded exactly like turning a guitar knob. I had recorded the performance (the opening riff of the sound clips below) at full volume.

Coda

In the independent artist community, there’s a lot of enthusiasm for doing everything yourself, like a badge of honor, but don’t get too swept up in this like I once did. You might be a better engineer than me.  I never kept track of the hours I spent recording Some Things Are Better Left Unsaid, but if done in someone else’s studio at a cost of $60, it would have cost thousands. I also would’ve had to record on someone else’s schedule and availability. Re-amping stereo riffs and a single lead guitar on ten songs only cost me $700. That’s $70 per song, or the equivalent of spending only about 1 hour to perform all the guitars on a song, not to mention setup and tuning. That’s hard to beat.

Double-Tracking Lead Guitars, Part 1

In an age when few want to play lead guitar at all, not to mention twice, an article on double-tracking guitar solos might seem pointless, but for those players keeping the faith, this one’s for you. We’ll discuss the pros and cons of double-tracking lead guitars and ways to get around common problems. For those […]

0 comments

Double-Tracking Lead Guitars, Part 2

Last time we discussed double-tracking problems you can avoid by doing Guitar 1 well, so this time we’ll cover the same for Guitar 2, with more modern home studio audio recording techniques and tips to help you record your guitar solos. Aside from the difficulties mentioned under “Performance Issues” below, there are some disadvantages to […]

0 comments

How To Re-Amp Guitars

If you’re like me, you’re not really an audio engineer despite all your research and efforts into capturing high quality sound in your home studio. Though it’s increasingly easy to buy quality gear, that doesn’t mean you have the training or experience to master it. Enrolling in engineering school, sound proofing your house, and upgrading […]

0 comments
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