Using Reverb/Compression on Heavy Rhythm in the Studio?

silverwulf

Ghost in the Machine
Mar 6, 2002
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OK guys, my band is going to be cutting our demo sometime soon. We're going to just do our demo in a local home studio that's pretty well stocked, and I've been talking with the owner who will be recording us. He's basically going to record us for free, so we don't have much room to complain. However, I was talking to him today regarding getting a "huge" guitar sound.

What we're going to be using is a Mesa Dual Rectifier ('94 2 Channel Model) into a Mesa Recto 4X12 Cab (Traditional Sized, Straight Model). We may also use a Mesa Studio Preamp (kind of like the preamp section of a Mesa Mark amp) into the Recto for some additional heavy sounds. We'll be using EMG 81 equipped guitars.

The sound that we're looking for from the guitar is something similar to the sound on Metallica "Black Album" (think "Sad but True") or Creed's "Human Clay" album (we enjoy the thick sounding guitars on there). Basically a really thick sound, with a tight low end, chunky and defined.

In talking with this guy, he said he had some ideas on how to achieve it. He wants to use 2 SM-57's to record in stereo, and he wants to double the tracks. But, he also wants to use reverb and compression on the heavy guitar sounds. Is this something that is common? It seems to me that using reverb on heavy rhythm's would make them sound "off" or muddy, and compression on that signal seems like it would make it lose dynamics?

So, is using compression/reverb something that you guys do, or is this guy just crazy? Also would you recommend recording in stereo or using a single SM-57 for those kind of sounds, and about how many rhythm tracks do you think we should use on average?

Neil or others? Thanks for all your help!
 
For my experience I can say that some compression is nice, even more if you use lots of palm muting (it tends to sound much louder in the low end than the parts you play without it), so compressing a bit in the mid-lows is usually a good idea. Two 57's is also great for getting more signal sources. But why not trying to use a 57 and some different mic (maybe even a condenser, far from the cab)?

About stereoing and reverb... The stereo effect will already be there because you'll pan the guitars. And in two or more guitar tracks it's pretty unnecessary, once that it'll already be pretty hard to tight them together, and excessive signal (reverbs, delays, phase shifting between the mics) will end up in more trouble in this purpose.

I would suggest you to try playing four guitar tracks, spread them in the mix (that 100%L-80%L-80%R-100%R stuff), compress/eq them (not too much), trying some cross-equalization. Don't forget the importance of the bass track(s) for the thickness of it all.

Cheerz...
 
Each project needs a different approach, along with different mix placement of the guitars, usually depending on voicings/harmonies/building etc. so I really don't have one hard or fast rule or a one-dimensional approach that I *always* use because it simply can't apply to every album. I did do one album with a band that had 3 guitarists and on that one we *did* record 2 tracks of each one. However, on other records I'll often record 4 tracks of one or other of the guitarists because they play tighter when doubling themselves than 2 different players trying to double tightly. On the new Nile we occasionally had one guitarist play certain sections of songs that fit his style perfectly, and then had the other guitarist fill in the gaps on the parts that fit his style better. It worked fantastically in fact and we were able to get the absolute strongest expression out of each section that way. Great fun!

Neil K.