how to avoid cascading nasty frequencies with guitar?

[Carrier Flux]

So, I'm curious how others go about working around those nasty frequency buildups that occur when doubling/quadrupling/whatevering guitars. I'm talking about how a guitar tracks sounds great* on it's own, but when you add another couple of takes suddenly you have an unpleasant guitar sound due to some nasty frequency buildup.

So far I've found a few ways to work around this, and I'm curiuos who uses which method, or if you use a method I don't mention, please explain!

A) multiple mics. I often use two mics, two takes with each mic; 4 tracks total...then mixing those until things sound consonant.

B) test recording. I'll record 4 tracks as a test and see how it sounds. if I have a problem I move the mic around a bit. the frustrating part of this approach is that I can spend two hours finding a good place for a mic, have everything sound wonderful, then find out after a test recording that something is terribly wrong.

C) eq'ing post. I'll EQ the left and right channels slightly differently just so those nasty frequencies don't have a chance to hump each other producing more nasty frequencies.

is there a particular reason this frequency buildup happens?

 

[Torniojaws]

Once something great = just that
Four times the same = four times as pronounced spikes

The more you add sound to a single frequency area, the muddier it will be. That's one of the basics of mixing music Keep everything separated to their own areas and you'll have a clear mix.

I believe you can avoid your problem by recording half of the guitars on one amp, and the other half with another. That way you only build up partly a certain range. If you want to keep the sound consistent, you can mix channels (rhythm tracks generally), ie. for example:

100% L = Powerball
75% L = 5150
75% R = Powerball
100% R = 5150

That way the mix won't be leaning to one side if one amp has a mid-y sound and the other more scooped.

 

[sparkyness]

changing guitars can also work. I love a sound that ends up being the sum of individual parts rather than just the same thing stacked up. Slight variations in rhythm or syncopated rhythms can sound massive when done right. I want to be the Phil Spector of Metal

 

[cobhc]

Or two different amp settings, similar to Tornio's idea, but with one amp instead of two, scoop one, boost the mids on the other. Or two different cabs is another thing to try though, two tracks of a Marshall for a more aggressive midrange, and two tracks of a Mesa for some tighter low end. Although I've found lately that I'm getting a thick enough sound out of two takes, to please me.

 

[JBroll]

I don't have that problem, I just put 100-80-80-100 and track, but one thing that often helps the 'mud' issue but is more subtle tonally than the separate tone thing is playing in different fretboard regions, as thinner strings will have more treble and thicker strings sound more thick, and putting one pair on each side. Also, you could try splitting up power chords, which would give you the lower end chugs and the clarity in the high end, provided you're tight enough (otherwise it sounds silly). I don't have the options many here have (one amp, one mic, Sound Blaster) so I'll just have to not be bitter and/or resentful towards those who can choose between amps that not only work but make good sounds as well.



(Bastards. Every one of them.)

Jeff