Distorted Guitar: Mixing the High End Frequencies

[Michael Franz]

Hey Guys,

I have a question about how you guys are mixing the high end on distorted guitars. I analysed the guitar tracks by Machine Head and Megadeth. Machine Head was mixed by Colin Richardson (i think). Megadeth was mixed by Andy Sneap.
Both tracks showed up almost the same way of Mixing the high end on distorted guitars. The frequencies from 7 to 8 khz seem to be dropped down with a high narrow and above 11 khz there is a cut. But the weird thing is when you pull the frequencies above 6 khz up, it doesn't sound that painfull like when i do this with my tracks. These frequencies above 6 khz sound actually smooth (almost similar to a Chorus).
I also recognized that the high end frequencies have less attack, so the guitars don't jump out of the Mix
So my next question is, if you have any idea how this "trick" works.




Cheers, Michael Franz

 

[newamerikangospel]

There are a lot of other people who are much better mixing engineers than I am that will hopefully chime in, but having something in this range and what it is in this range are two different things. Any form of compression or limiting on the guitars will start altering the eq curve, so looking at a spectrum analyzer you will visually see high end on a track that won't necessarily sound overly bright. As well as a weird spike/node at 4-7k can cause icepick-y-ness when the tone itself is fine without it.

Are you boosting your top end when trying to get these types of tones? I find going to an overly bright mic placement and sculpting down (gently of course) is the most natural way of getting the bright tone.

 

[Michael Franz]

Thanks for your reply. Your thought about the high end on guitar tracks, makes really sense in my opinion.
To your Question, I never boost high end on distorted guitars. It makes them sound really nasty and in most situations it kicks the guitars out of the mix. I try to get the high end on my amp,then i search the sweet spot on the cab.

 

[Korwent]

For me, harshness or nastiness comes more from the 2-5k rang than higher than that!
over it is just the air in the tone, having too much of it will make the guitars lack balls but as I tend too like guitar tones a little too dark I find myself boosting the very top end once in a while!

 

[mickrich]

I tend to record a bit darker, but avoid the 3-5k nastiness.
I place the mic outside the fizz area slightly off axis.
Then I add some high shelf a few dB from about 7k up then low pass at about 12k.
I find I get a better sound this way than recording a bright sound then cutting the high mid harshness.