EVH recording style!

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MetalSir

Member
Nov 17, 2008
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hi everyone!
in these days i'm trying to understand the guitar mix of EVH's "For Unlawful Carnal Knowledge".
basically i'm trying to record ONLY one guitar track and getting "that" amazing stereo image, because of i'm making a fast preproduction of some songs of mine and i really do not have the time for dubbling guitars.

i read this somewhere, but something seems not to work properly:
was with just 1 guitar panned left and only the verb and delay from that guitar panned right.
Click to expand...

i'm trying to go for this method, but without cool results.
any suggestions?
thanks a lot guyz
 
I have done something like this (according to what i've read and reported above):

I put on the LEFT CHANNEL the dry guitar track without any fx. On the right channel i got the same track delayed 15ms + some riverb (both fx only wet, indeed). But the results are like BAD BAD!
 
MetalSir said:
I have done something like this (according to what i've read and reported above):

I put on the LEFT CHANNEL the dry guitar track without any fx. On the right channel i got the same track delayed 15ms + some riverb (both fx only wet, indeed). But the results are like BAD BAD!
Click to expand...

Have you tried using a pitchshifter on the wet track? just 5 cents or something like that, I remember reading somewhere he had the eventide going on on his FX side...
 
Just double the track and use sample delay on one of the tracks. Should get you in the ballpark.
 
Sweetnothing said:
Have you tried using a pitchshifter on the wet track? just 5 cents or something like that, I remember reading somewhere he had the eventide going on on his FX side...
Click to expand...
i read it too but it generate an hateful flanger effect.. and i really do not like these kind of stuffs!

HERE a test: just 20ms delay in the left channel. reverb applied to BOTH channel.

please tell me that i can do BETTER than this shit.. =|
 
PSP stereo pack---->Pseudo stereo

Cheap and efficient, no messy delays which tend to fuck up localization.
 
Not to sound like a dick, but all the time you spend looking for a mediocre solution to a relatively easy task, you could have gotten it done already.
 
Ok, all you need is 3 mics, 2 omni directional and one bi-directional mic (figure of 8)

use the bi directional on the cabinet (im not gunna tell you which distance or which angle. thats for your ears to decide) and have the two omni directional mics at the same height of the bi directional and make an equilateral triangle with the mics(again, distance or how big you want the triange is for your ears to decide)

now, the reason why i picked a bi directional mic..keep in mind of the most useful feature of that bi directional mic:
the un-used side of a bi directional mic is deafer than the rear of any cardioid(hence why i didnt choose a simple cardioid).

once you have figured out positioning and what not, pan the omni mics hard left and right, and the bi directional to the centre.
keep in mind, that the rooms reflections definitely play a roll in this case - or in any case.

did you know that anything a mic picks up or what your EARS pick up is mostly reflections of the room?
if your in a room with a roaring amp, 80% of what your hearing is the room, and the rest is the actual unit of focus (the cab)


Good hunting!
 
For Unlawful.. was actually double tracked. The guy who produced/engineered it said that Eddie hadnt done that previously but took to it really well in a guitar world article I read not that long ago. Its all the previous records that were single tracked with a slap delay panned to the other side.
 
Yea..Really not trying to sound like a dick, but in the time you may have spent looking for an "auto-doubling" solution, you probably could have double-tracked rhythms for an entire record.

For that sound, I've found that tight-but-not-overly-tight double-tracking is the way to go. Like tightly double tracking the guitars, but not editing them, just letting them breathe a bit. If a bend is a few cents sharp or flat, let her go without busting ass about getting it "perfect" as it were, as long as it sounds good.

At that point, it's about sounding big, but not un-natural.
 
It's not an auto doubling technique.
He's looking for a very specific sound. Not to safe 5 min of work.

Look at my post above. That is how you achieve that sound. If we're thinking about the same thing lol
 
Audiohaus said:
It's not an auto doubling technique.
He's looking for a very specific sound. Not to safe 5 min of work.

Look at my post above. That is how you achieve that sound. If we're thinking about the same thing lol
Click to expand...
hi guyz! here i am back from work.
so.. i wanna say THANKS to you ALL fro your feedback! :kickass:

so.. i must say that my request ain't about saving time and ain't about "philosophic" recording matters. this is about me learning something new and useful (now/future) for my preproduction shit.
Let me say that i'm so fucking tight in recording that generally i quantize even guitar tracks. just give a listen to this my production (recorded, mixed and mastered by me): SOUNDCLOUD. :rolleyes:

so let's get back to my beloved EVH! :headbang: :worship: :rolleyes:

@Audiohaus: i read that the sound of eddie's "F.U.C.K." album was made by using ONLY ONE mic: an sm57. and that it's alla about setting properly delay and reverb on the right sides without losing too much signal.
I strongly believe that we can do this by using a couple of sends an NO external dubbling vst.. =)
 
Audiohaus said:
I see. I'm just showing you an old school approach. I like things to be done as natural as possible haha
Click to expand...
yay man! appreciate that! :headbang:
but for preproductions i don't use real amps/mics.. i just record my POD simulation (the one posted a couple of posts ago).. so i need to do this differently from what you explained before (that it's amazing imho)! :lol:
 
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