Guitar Overdubs and Doubling
Ok, so one other thing I wanted to address as I'm tracking these guitars and as I'm tracking everything in um because of the system that we have here we're kind of limited on headphone outputs and outputs in general and being able to kind of re m things taking dies so within without getting too technical for you there is kind of this maestro mixer down here that is controlling what goes out to the fleet that you're hearing as I'm tracking because of layton see issues within the program so without getting too technical about that um depending on what source of recording you might think that you know oh man this guitar is blazing loud or I can't hear it like while we're tracking um I guess you know sorry we can't really fix that but I can't hear it in here either because I have a guitar blasting in my ear so and that's kind of part of doing it while you're you know if you're in the same room with something you just you just have everything takes twice as long because you have to go back ...
and listen through speakers and you can actually hear it in the comfort of is if you had like a nice control room and a separate isil booth so like I said when you're doing things like this everything is just twice as much work usually ten times as much work but now enough about that get to the fun stuff in tracks and guitars so yeah, you're kind of up and running right? Okay, awesome for this guitar also it's a uh it's the orange th thirty and with an avatar looks like a four ten cabinet I still have the, uh, speakers really people and it's so I have have a fifty seven and norman one seventy on their, uh for whatever reason, this one one seventy is sounding pretty good on both their guitar cabs. Um I like it I've never used before and I kind of want one now this is a great example of, like, you know, until you actually hear it in practice, you don't know if you want it and that's another reason why the fifty told tangible another reason why the fifty seven is such a great mike to own is because you can always throw fifty seven up to something and compare it to the fifty seven because if you know that fifty seven, so well then you're going to know how something else should sound compared to that. So it's just a really good thing to just learn that mike fun really? Well, um that being said ok, well, let's jump in. Yeah, could you put a quick drive? Yes, yes, if you heard that pop playing back uh that's because I did I did not do a cross fade here and that's what happens I don't know if you guys picked up on that but that's what I was doing so will get you in right at the break eight clicks than urine and apparently I can't count so now it clicks in yeah it was great another thing tio just as him on it sometimes you might want to jump the gun and stop recording right away like this is you're done but it is important to let the guitars ring out completely because I mean that's another thing that you know these days not the head over there yup I know because there's nothing you know I feel like I've saying there's nothing worse but like it's like all these things will just totally end up just biting you in the end if you know you have a fade out of a song and then you have to rush that fate and make it quicker because your guitar chopped off before it and sustaining and you know it's like you have this really cool like just vie the guitar part like it's just sustaining towards the end you know and to me like the extra ending of that is what kind of like really like just puts the closes the book says ok I'm done you know and it's like imagine if you were to like just get antsy and end the song right here you know just like come on um so I mean granted not really a huge thing in the grand scheme of things but just something to be aware of as you're tracking you know always just let things ring out totally and these guys were great about doing it too as you're as you're ending your notes really just left the guitar bring out as long as possible and don't don't be one of those he's like ok and my part guitar part and then like just cranking falling down cool done it's like no, you're gonna want that ring like you need that kind of, uh freedom to be able tio you know have that long outro if need be because you never know maybe at the end of the song through like you know through pre production or as you're working you may decide that like the vocalist has this really cool like ending maybe a weird spoken word thing or like he ends like friends on that pig snout song like the like the kid vocals and it was like that a which was pretty cool I thought, but then it's like if your guitars cut out early, then all of a sudden it's like man like, ok, well, we can't extend that cool is you're forced to be in a box? You know? So a lot of this is kind of like keeping your options open which I think is you know so whenever you can kind of do things that may make your life a little easier since you're already making things so hard on yourself it's probably a good idea to do those things um any questions on any of that from the old chat room ok ok um all right so now what I'm gonna do is I'm going to have to double that guitar you know well it yeah you wanna double with the baritone part and said are you which one of you what you want to get wilder but is it uh it was like just like octave lower I am just like octave lower okay for you yeah let's do that we're going to the baritone okay just through your rig since right yeah yeah totally something that you know as I'm kind of touching on the subject of doubling guitars a lot of the time if you have multiple guitars and multiple amps um it does make a big difference you know and when I say big difference a lot of this stuff you know a lot of it is just in you know it's in my opinion that it's a big difference you know like for me like the difference between like that the one seventy and the fifty seven on the base but that was a huge difference you know but maybe somebody looking listening at home is kind of whatever it's basic okay, you know so I mean it's all up to you guys how twiki you want to get on the stuff but like I said in my opinion um these things do add up like it's just that game of inches you know what that kicks sound? You know, you have that all of a sudden you have your kick their you khun bring it up liar in the mix now that effects where you're able to bring your base then you turn your guitars and everything else it's just it all affects everything also another little cool thing which you've got going on there something cool to do what at my spot is I'm tracking guitars and only have another tuner actually two other tuners that air out visibly so I can see them and I have a line going to that tooner because as sometimes you're tracking guitars especially in you're in the same room like this like on that last take there was a couple couple notes that I heard were a little pitchy um I would probably go back and redo those right away but it's a good idea toe you know, if you have a tutor that you can keep on if you're playing lead stuff just keep an eye on it you know, because you you'll be able to see you right away like man, I've been a little bit pitchy, you know he's like that so it was kind of cool that you had that on because I was kind of looking at it every once in a while and you could you can tell when you get out because a lot of times the guitar israel loud, you can't really tell if your inner out and then you go back and listen to the lower volume and you're like, oh, man, what is that, like so out of tune? Um, so just another cool little trick to have you yeah, mike, would it be? Would it be a good idea to use the same tuner for every guitar player to make sure that the tuning is definitely all the same? He's one of them is off sense or, you know, one hundred percent I normally have, so I normally have a tuner coming out of somewhere within their die pedals that goes to two different tumors tutors I have, like a big peterson stroke tuner as well as, like thea, just like I think it's, what is it? The it's, the big silver rack one I don't even remember it's like aditi are something you know and it's got like the big led because a lot of the time sometimes band guys like especially like I find it like really creative people, sometimes I can't really grasp technical side of things, and they're so used to just seeing a tuner that's like that that seem like a big spinney flashing wheel and all these crazy, like, I can't tell if I'm bladder sharp, okay, well, you just get it here, and then I'll tell you, when you're perfectly and I'm on the stroke, so everyone using the same team that helps a lot because if you've ever experienced it's pretty rare, but like, if you're too never slips out, you know, then, you know, everyone can think they're all in tune, but your alternative different tuners, so, you know, that is pretty important, and I don't care well, maybe you're really good, but, like trying to mix and make out of tune guitars fit right in the mix is like, and e I can't do it, I have to have them like, at least pretty intend the only way I can kind of get him to fit in the mix is like to put him down lower, so you can't hear, you know, and I don't really feel like that's that's definitely not the best option. Yeah, exactly as being about so there's nothing really frightened cars like digital tuners, that that was really interesting, I guess, like brighter guitars can sometimes throw your tuner off some told me it turn your toned up all the way down like I'm not a bridge pick out the four turnings it's easier for the tuner to detect the pitch yeah like the fundamental rather than like the harmonics yeah yeah you can do that um I don't really do that because being granted I think well yes for this class that might be a definite like yeah you can try that but I guess fortunately in my situation like I can throw anything at my tune or I would like to know flew with it if I want you know like um but you're talking about some like ridiculously it's like the tuner costs like as much as a guitar so it's just like stupid um but useful in those situations yes a rolling back your tone up we'll help especially if you're on something like a jazz master where it's very like plenty you know that wait we got here just make sure this is like a decent level for so with a lot of the stuff I have to keep adjusting my preempts over here if you see me reaching over here and it looks like I'm just waddling around um I'm constantly kind of adjusting to preempt because if you notice um like for instance on this track here uh this bottom track is the dye for the guitar and when you're doing a lot of lead guitar parts you know, he's doing kind of like a lot of cool kind of like single note type of stuff and then when it comes time to these kind of hits here they could be pretty dynamic within the dye itself because you don't have the amp kind of like saturating and kind of blending or not blending but you know, saturating things together and squishing things so different guitars have different outputs as you guys know, so the d I level has to constantly be adjusted for each for each guitar so that's why I keep kind of fiddling around over here and making things here because and again the whole point of having indy I is kind of a safety net um so if you get back, you know, if you take these tracks home, then he realized like all man like that and had this weird buzz that I couldn't get rid of but you know, we just it's killing me like we have to redo it then now at least you have to die and you don't have to, you know, actually play those things or if your if your performance was great but say like your tap tempo on your delays we're just slightly off you can just actually play the d I back into your delay pedal and then back into your amp and you can actually especially if you have pedal performances that air really difficult to do like while you're playing guitar, you could actually have if you wanted to get really tricky with it, you could actually play the d I back out I've done things where we had one guy playing like a whammy pedal like with his with his hand because it was like to difficult to get it perfect with your foot, you know? Then we had another guy operating a law on his knee like a the same time so it was like it was just created this crazy sound but it was like there's no way you can do that like and play like, you know, I mean, they have two pedals with both feet while playing guitar, like impossible to do, but it made this awesome sound so you know, just little tricks like that if you really want to get creative and make cool sounds, um okay, so you want to take it from vocals in so I can tap from there let's get you in from because that note was wrong, right? There actually should not be a note there. Yeah, ok, so let's get you from this last time through that river, so get you in there oh, so another thing as I'm doing here if you're not familiar with pro tools, so pro tools has a feature called quick punch and what you can use, you can punch in anywhere within the track. So for instance, I thought he was going to play this line all the way through, but he just started at a point he was comfortable with, so I punched in a little too early if you're not using this mode. Um, well, the good thing about this is if I would have missed the punch, I can pull it back, so it starts recording as soon as you play so that that information is there, so now I can just pull this back to where he started playing and kind of patch that up stuff, but still okay, so at the break, that slide in was pretty epic a cbc live video that's the sg, right, help my shorts at home that will bring them right, and you're in your schoolboy back back yet. I think it was mainly just those low strings when you want the ball kind of art eyes a perfect example of things that you'll run into while you're tracking tio um, you know, like another, you know, I think whenever you're going in to start tracking it's a really good idea, just also, you know, learn, go on youtube and learn how to set your guitar up, um, it will save you tons of nightmares of like trying to play a riff and having to retune for certain chords if you're you know, if your intonation and your actions not set up properly as well as if you have a guitar it's properly set up it's just so much more fun to play, you know, like yesterday that you know, the acoustic with the action all high, you're just like, oh gosh, I don't even want to play guitar right now you have a guitar that feels great it's inspiring and it makes you play better. Um, so be prepared to run into things like this where you may have a guitar that's kind of like because of you know that maybe the tuning urine or hasn't been set up maybe like sometimes you have to set up a guitar every week, you know, just it just depends on the weather that the climate inside of here, the humidity, everything affects everything. So anyways, you may run into those things where you get stuck and it's like, dude, I cannot get this guitar in tune, then you may have to go and actually intimate it yourself, and you should learn how to do that, okay, so same spot, okay, so another thing that might be worth mentioning is when you're punching in tracks if you can find a spot where there's like a quick little break within track. That's, normally a pretty good spot to punch in a lot better than like, you know, if you punch in made accord, you know, like bone punch and it's still in the middle of a standing now, it's only the wrong spot to do it. Um, so right on the downbeat or, you know, in between breaks, like, if you have a lot of stops like done, done, done, punch done, you know, those again spots to punch in. Um, ok, how did you feel about this end part without getting too deep into it? It felt like some of these hits we're not really in the same kind of kind of sloppy and triplet feel with exactly what he's doing, and probably because I tightened him so tight that may not be exactly what you guys are used to playing now. Um, so but I think for the purpose of this, we'll leave it, and then maybe I'll leaving. If we have time, maybe I'll show how to kind of like and if the guitars and then rampant through.