Buss Track for 2 Guitars - Where to HP/LP ?
- Thread starter Plendakor
- Start date
Uros
Sonic Incision
Regarding HP&LP I usually do it on the buss, since most of the time it's uniform decision for all guitars. Sure, you can do it also on tracks themselves, it isn't a mistake.
I would suggest that you do comp, if any, on the buss, 'cause you definitely don't want your comp to make different envelopes on L&R side (except for an effect). If you want different colours on L&R guitars, then treat them separately (via tracks, not buss), if you don't - do all of your processing on the buss.
And what the fuck is that panning 0-127?
What DAW is that?
Anyway, if you have just 2 tracks, pan them 100% L&R. In your case, that would be 127 L & 127R.
I would suggest that you do comp, if any, on the buss, 'cause you definitely don't want your comp to make different envelopes on L&R side (except for an effect). If you want different colours on L&R guitars, then treat them separately (via tracks, not buss), if you don't - do all of your processing on the buss.
And what the fuck is that panning 0-127?
What DAW is that?
Anyway, if you have just 2 tracks, pan them 100% L&R. In your case, that would be 127 L & 127R.
Ionei
Member
LeSedna
Mat or Mateo
I was thinking the same...
isn't the center at 63 or 64 ?
Anyway yeah, 100% hard pan is good for rythm guitar if they are playing exactly the same thing, it will widen your sound and make room in the center for snare overheads and vocals.
Eq can be applied on the buss, it's supposed to be a linear process so EQing each guitar or the buss where are sent both guitars gives the same result.
Compression is not the same, it's not a linear process. On a buss it would compress also the Right guitar if the left one hits it, whereas if it was only on the right one it wouldn't at the exact same moment.
So the answer is :
- EQ where you want because it doesn't change a thing, on the bus it's fine
- comp where you want, but on the buss is usually good unless you wanna have a particular treatment for each guitar (like cleaning each of them with a multiband compressor to tame their lowend or something like that). Usually, putting a comp on a buss (drums, guitars, vocals, master track) gives what we call some "glue" because it affects all tracks in the bus the same, giving to you ear a more cohesive process, more natural too. But of course it depends.
Precise answer : you can EQ and comp on the bus if your tracks are ok. If they are a DI and you use an ampsim, you have to put one on each guitar, though, and then use a bus to EQ/comp.
As a note : a "fader" is only the physical stuff you move in a line to control the volume, it's the "object". What you are talking about is a "track".
EDIT : dunno if the sound of SSL 9k in the tracks of Record sound real, but they did exactly what I dream of : showing real-looking tracks of an SSL or Neve -like console directly native into the daw. Too bad this "daw" seems lacking too many features including... vst. It's garageband by PH.
Habsburgs
Member
- May 13, 2006
- 1,763
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OneDaySky
Clint
WOW it looks rad
LeSedna
Mat or Mateo
XSTmusic said:
Absolutely no
You could comp them separately if one was playing high nots all the time or if you have one who solos really more etc, why note. Otherwise harnonized or not if thy are rhythm guitar that play together (even with a few variation) you're good with a comp on them
cent73
Member
- Jul 19, 2004
- 95
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Whatever you want to do with the keyboards, turn them down first. They're even louder than guitars in some parts.
As far as compression is concerned, a distorted guitar doesn't need much of it, if any really. It's already been compressed a lot in the process. Take a look at the sound wave - it should be more or less even, without any prominent hits or spikes, if you know what I mean.
Having said that, start with the best sound possible at the source then apply EQ and compression (some would do the other way round...). If the latter is needed, sometimes you need to take the mid-low end of the guitar - you could use a multiband comp for this area if it's thumping too much. But be gentle - moderate settings will do.
I recommend trying to work on separating the bass from the guitar - in your track it gets a bit muddy there. Apply both lo and hi pass to the guitar and leave the bottom to the bass.
As far as compression is concerned, a distorted guitar doesn't need much of it, if any really. It's already been compressed a lot in the process. Take a look at the sound wave - it should be more or less even, without any prominent hits or spikes, if you know what I mean.
Having said that, start with the best sound possible at the source then apply EQ and compression (some would do the other way round...). If the latter is needed, sometimes you need to take the mid-low end of the guitar - you could use a multiband comp for this area if it's thumping too much. But be gentle - moderate settings will do.
I recommend trying to work on separating the bass from the guitar - in your track it gets a bit muddy there. Apply both lo and hi pass to the guitar and leave the bottom to the bass.
The most compression I go for on distorted guitars is maybe 1-1.5db of GR. Usually less than that, but if you have a very dynamic track, where you can see the peaks where the "chugs" are in the waveform, then you might want to compress them a touch so they even out.
LeSedna
Mat or Mateo
How much comp : only you ears can decide, rarely a lot. If you don't know or hear what you're doing with a compressor on distorted guitars, just don't put one. It really does nt "need" it.
Bass or kick : up to you. I personnally put just enough lowend to the kick drum to bump through the bass lines and be audible, and add a clicky sound by boosting the highs to make it more clearly audible. You can also sidechain a compressor on the bass with the kick output so that it compresses the bass by a few dB each time the kick hits during a short time, it will make it audible. Same, do it only if you understand the principle well and have it in control, otherwise it's really not necessary.
Bass or kick : up to you. I personnally put just enough lowend to the kick drum to bump through the bass lines and be audible, and add a clicky sound by boosting the highs to make it more clearly audible. You can also sidechain a compressor on the bass with the kick output so that it compresses the bass by a few dB each time the kick hits during a short time, it will make it audible. Same, do it only if you understand the principle well and have it in control, otherwise it's really not necessary.
