JoergieN
Member
Thanks for the tips man. I've been so busy lately I haven't been able to experiment with anything lately. Finally have some time tomorrow night so I will try all this out.
Quadtracking.
- Thread starter Emdprodukt
- Start date
MarkG
Member
I used to quad track, but lately I don't find it worth it.
- twice the takes, 4x the time
- smoother tone due to gain stacking (for me anyway)
- when using exact same gear, minimal difference
For certain heavy sounds its pretty much required, but generally double tracking is plenty imo.
- twice the takes, 4x the time
- smoother tone due to gain stacking (for me anyway)
- when using exact same gear, minimal difference
For certain heavy sounds its pretty much required, but generally double tracking is plenty imo.
arv_foh
Brian K
Has anyone ever tried to use vocalign to tighten quad tracked DI tracks? Sorry for the semi OT but I'm just curious
egan.
daylightdies.com
crillemannen
Member
Damage, Inc.
Member
+1. I'm not into clownfucking parts together until I create something that almost works from shitty tracks. If the guy can't double himself tightly enough to get a worthwhile track, then it just won't work, period. I HAVE been known to secretly replace certain parts myself...
striked01
Member
Yep. I've had to do it. Not cool, but I've only done it when I felt like their takes just weren't usable.
Mm1066
Mediocre metal maker
striked01 said:
Sorry for bumping, but the Parkway albums were quadtracked? Can't really hear it myself. Where did you get the info?
Fox Mulder
The Truth Is Out There
Two alternative procedures i frequently use to fatten guitar sounds:
- Record two guitar tracks (Left, Right) and create for each a FX track with a delay inserted. Choose a very short delay time (~10 ms, only wet signal!) and pan the FX-tracks to a different location (e.g.: Guitar 1 L85, FX1 L75; Guitar 2 R85, FX2 R75).
-- When using Preamp-Simulations and impulses: Create two audio tracks (A1,A2), insert a different preamp in each and pan these hard left and right. Record 1st Guitar to these two channels.
Then record a second guitar following the same procedure (two audio tracks, different preamps etc.) but this time REVERSE the panning.
E.g.: 1st guitar: Tack 1, preamp 1, hard left / Track 2, preamp 2, hard right
2nd guitar: Track 1, preamp 1, hard right / Track 2, preamp 2, hard left
It's a good idea to choose two preamps with different cound characteristics, e.g. one with more low end, the other with more mids and to mix your desired guitar sound using the mixer's faders.
Cheers!
- Record two guitar tracks (Left, Right) and create for each a FX track with a delay inserted. Choose a very short delay time (~10 ms, only wet signal!) and pan the FX-tracks to a different location (e.g.: Guitar 1 L85, FX1 L75; Guitar 2 R85, FX2 R75).
-- When using Preamp-Simulations and impulses: Create two audio tracks (A1,A2), insert a different preamp in each and pan these hard left and right. Record 1st Guitar to these two channels.
Then record a second guitar following the same procedure (two audio tracks, different preamps etc.) but this time REVERSE the panning.
E.g.: 1st guitar: Tack 1, preamp 1, hard left / Track 2, preamp 2, hard right
2nd guitar: Track 1, preamp 1, hard right / Track 2, preamp 2, hard left
It's a good idea to choose two preamps with different cound characteristics, e.g. one with more low end, the other with more mids and to mix your desired guitar sound using the mixer's faders.
Cheers!
striked01
Member
i forget where i heard that, i may be wrong.
Maamar Huq, i didnt mean he did it any differently, i just love the tone he gets from it. Wrong choice of words, sorry.
First take one amp. Use FX Send on the master amp to FX return on the slaved amp. Then you have 2 sounds, the master amp is feeding its sound through the power amp of the slaved amp, which will alter the sound. And of course you need 2 different cabs so that will also alter the sound of the original amp.
The trick is to get 2 sounds that compliment each other. One sound can be a little bit brighter, the other one a bit duller, and maybe one is thicker and the other a bit thinner, you get the ideathe thing is to have the 2 sounds in mind when setting the tone, which will lead to an awesome tone in the end. I usually have one guitar about 5-10db louder in mix. The one that is a bit lower i usually pan 80. So it is Master amp 100 L/R , Slaved amp 80/80.
The tone gets much thicker and wider if you are good at this technique which i learned at Studio Fredman when i was an intern over there. I'll see if i can remember to bring some samples tomorrow from the studio.
Of what benefit is this versus just setting up a new head and recording that?
Slaving amps means to send one amps preamp into another amps power section.
If you have a master amp (amp A) and record it and then slave it into the slave amp (amp B), you are still tracking amp A's preamp (but getting the tonal imprint of amp B's power amp only).
Why would this be preferable over just setting up 2 amps and recording them seperately, so Amp A's pre and power amp are captured as are amp B's pre and power amp captured.
If you take your idea of changing the tone controls of the amp when slaving, then that would all be preamp changes only, unless the power amps used vary greatly in their tonal imprint...Which I would curious as to how different the amps would sound through different power sections, really. IMO with most high gain amps, they run 6L6's or EL34's and get their voicing more from preamps...So to me slaving would serve to provide LESS of a difference than just running the 2 amps on their own and miking each.
All that said, in my experience, reamping 1 performance through 2 amps doesn't get anywhere near quadtrack territory and at times presents it's own set of problems.
For me, I like quad tracking using a single mic...If I'm doing a dual mic setup (a la Fredman technique), I like dual tracking.
For metal, IMHO, I don't really like any of the results I've gotten dual a L-C-R rhythm guitar bed. the center guitar makes the spread seem smaller and clouds the center mix too much for fast, heavy music. And it's unnecessary in the mix altogether if you have to lower the volume enough to keep it from clouding things up, IME.
for me and quad tracking with harmony rhythm lines, I usually do it like this:
Guitar A - 100L
Guitar B (playing harmony) - 100L lower in volume by 3dB
Guitar A2 (playing same riff as Guit A) - 100R lower in volume by 3dB
Guitar B2 (playing the same harmony as Guit B) - 100R
this keeps things symmetrical, but allows each side to have a more dominating root or harmony.
JeffTD
Senhor Testiculo
^^You're over thinking it on the slaving bit. It gives a single guitar track multiple textures from the same amp so you get a huge, thick, more harmonically complex tone than you would from a single amp/cab setup, but without having to worry much about the tones working will together. The point is to get less of a difference from two sources.
Nick M
Chuck Norris is my uncle
Ah, but then to me that seems like the extra work wouldn't be worth it (but I've never done it and recorded the results, so I can't say). Knowing what both of my amps sound like slaved through each other, I wouldn't see the point, personally. The issue I HAVE had with using 1 performance through 2 different amps was a phasing issue from using the same DI (lasse has also pointed this phenomenon out as well). I got around it, but it presented it's own set of headaches at first...And, extrapolating on that and adding it to the slaving idea...it seems like the risk for phase issues in slaving would still be there.
I'll have to try it sometime, though.
I don't think I understand, are you reamping and amped track??First take one amp. Use FX Send on the master amp to FX return on the slaved amp. Then you have 2 sounds, the master amp is feeding its sound through the power amp of the slaved amp, which will alter the sound. And of course you need 2 different cabs so that will also alter the sound of the original amp.
The trick is to get 2 sounds that compliment each other. One sound can be a little bit brighter, the other one a bit duller, and maybe one is thicker and the other a bit thinner, you get the idea
The tone gets much thicker and wider if you are good at this technique which i learned at Studio Fredman when i was an intern over there. I'll see if i can remember to bring some samples tomorrow from the studio.
