Double-Tracking Lead Guitars, Part 2

 Articles, Recording  Comments Off on Double-Tracking Lead Guitars, Part 2
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!


  • 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?


  • 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?


  • 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!


  • 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 […]

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 […]


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 […]

Writing Guitar Licks

 Articles, Composition  Comments Off on Writing Guitar Licks
Feb 212015

I always prefer to write a new guitar lick instead of using a standard one, but since anyone can throw in a bunch of notes that don’t sound good, how do you write something fast, impressive (they must always be that, of course), and musical? Through experience, I’ve developed an approach. To do this, you’ll need a song with which to play along, with a drumbeat.

For starters, it’s important to write to the music. It’s easy to write a lick that sounds good out of context, but then you play it over a song and it doesn’t quite fit. It’s too long or too short. The rhythmic groupings are off. The pitches just don’t sing. All of the above. Maybe breaking it down would help.

Step 1: Identify the core pitches of your new guitar lick. While the recording plays, slowly play lead guitar and identify two or three notes that seem to ring out well over the chord(s). Chord tones are a good starting place, so if the chord (or key) is E Major, try Es, G#s, and Bs. Try different registers to find notes that really sing.

Step 2: Identify the note grouping/rhythm. Will it be a three or four note grouping (or six or eight by extension)? Let the recorder play while you hold down one note, striking it at the speed you want your new guitar lick to be. I generally start at my top speed and work my way down, and I sometimes alternate between two pitches to help identify the grouping. You may have to stop the recorder and slow down what you’re playing to figure out what the grouping is. Let’s say you’ve realized it’s a six-note grouping.

Step 3: Invent possible patterns. With the recorder off, write some six-note patterns using mostly those three pitches. Here are some examples I tried over one of my songs.


Step 4: Improvise. When you’re ready, it’s time to improvise along with the music. This time, you have an advantage. The pitches work and the grouping fits. You just have to decide on the pattern(s), which might take time but is more fun now that it’s less frustrating. You’ll have to decide how many times to repeat the pattern(s) and how to break it near the end.

Step 5: Add some melody at the end. Part of what makes most guitar licks work is the ending, which is often a melody that’s a departure from the guitar lick itself. These little melodic snippets bring the guitar lick home. See the example below, from my song “Motif Operandi” from my CD, The Firebard. As I wrote the descending guitar lick (a three note pattern), I thought it was going well but seemed to dribble off into nothing, so I wasn’t going to keep it. Then I improvised the last four climbing notes and the whole thing worked. Many times it seems like a guitar lick is almost cool, but not quite. You have to end it well.



Even if you don’t want a stationary guitar lick, but one that moves (or a scale), the same techniques can get you started. Best of luck, and may your fingers fly true.

Interval Riffs, Part 1: Basics

Many guitarists use chords for rhythm guitar without considering another option: intervals. While a chord is three (or more) notes, an interval is only two. This might seem a trivial difference, but using just part of a chord lets you play intervals for specific reasons, and using only two fingers creates other more advanced possibilities. […]

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In a previous article, Interval Riff Basics, we looked at and heard examples of using only two notes, or intervals, for rhythm guitar parts. The two main intervals are fifth and thirds, with the latter adding more variety and color to your riffs. Now we’ll look at ornamenting these two basic sounds with melody fragments. […]

Interval Riffs, Part 3: Simple Counterpoint

Counterpoint is defined as two or more simultaneous melodies that maintain their independence while still forming a harmonic relationship. A single instrument like classical guitar can perform counterpoint with three or four lines seeming like a single part. However, rock guitarists seldom do this for a variety of reasons, but that doesn’t mean it can’t […]

Structural Chord Progressions

A good way to make songs more powerful and structurally sound is to use chord progressions not only within sections, but also across them. This creates a harmonic relationship between sections and adds to the sense of forward motion, tension and resolution, and overall strength. A change of section can feel more logical and expected, […]

Writing Guitar Licks

I always prefer to write a new guitar lick instead of using a standard one, but since anyone can throw in a bunch of notes that don’t sound good, how do you write something fast, impressive (they must always be that, of course), and musical? Through experience, I’ve developed an approach. To do this, you’ll […]

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