Layering Guitars Part 2

 

Studio Pass with Steve Evetts and Ben Weinman

 

Lesson Info

Layering Guitars Part 2

What about even layering in like the next section don't no no no like you could see it now even on the original version on the original version there's the two main rhythms in this section this big stompie kind of section uh huh if memory serves these air two of the same sound here with same cabinet configuration and everything for this part from the doubling just for really kind of like force and impact but then we layered in two more actually with a totally different amp and a different mike actually there's something different guitar it sounds like we use the espn the viper lovers too and then we use I can hear the twang of the hollow body you can hear the total difference you hear that little little twang usually only get from like a hollow body the original one little less gain on that one you know but this one giving it a little more gain thief then you hear the four together and to main guitars are hard left and right and even I stress this and I'm showing this even in pro tools...

with normally I don't all mix in the box I something external analyst console but honestly and there will be people who probably debate this with me but you know, external summing and I know brad you you agree that there's no difference there's a major different team external summing and mixing inside the box external and make mix you know through an analog thing it's so much any time of analog sourced even if this is something a little something makes you like it dangerous to bus so much bigger and wider than mixing inside the box and but I will say this everything that you put through every stage that you put it through gain stage inside pro tools effects the depth and the width of things and if you're a pending guitars hard left and right one of that will make a difference that you can actually sonically here instead of if you just have to outputs instead of panning them to one hundred left and right like this you see how I have it here on the tracks guitar one into I havejust assign the three for our for our purposes three four is one to zero area left and right that's it so I took the panning out of the equation and I just assigned guitar one to three so that's hard left coming out of the speaker and guitar for two hard right and it makes a difference in the width of the guitars especially sitting in the mix too get rid of the panning if you can and if it's going to be hard left and right just a sign into a left speaker left bus or right bus and that's it um and then what we do with with secondary guitars usually I panned them in a little bit maybe like tio eighty eight eighty seven whatever and then to me that's going to create more of us sorry ok again you hear all the noise I mean that's kind of what you want you know especially now but right there just because of for feeling for whatever because it's almost like in a movie like a scene change for the next section so we kept it dirty and and and then right when it went bad because he also goes with the vocal goes out and then I did cut it to digital zero there just because just to make it for for a contrast to make its stark so it's like it's dirty, messy and then fade to black next so sometimes the digital zero thing like I said it's always everything is to what feels right to you and you know but I try to keep it organic but sometimes for certain things that that blank thing can have a really dramatic impact. But if you try to make everything perfect in everything blank that feel sterile to may but as a as a tool just like anything as a tool and as another color and your pallet to paint from sometimes that blank thing can be really cool well, yeah, because it's the intent again like is it a rule of thumb cut out all that space all the time don't cut all of this space know it's like that part was a smack in the face then and it spans so you want that guy to be knocked out cold you don't hear anything he's called told he's done he's got to get it right so turn the page next part exactly so that's that's why especially for that like I said for like a scene change especially because their stuff is so many different parts and how do you transition how do you get to that part the best and certain that it's about intention not just uh you know he's doing it because you can all right so very quickly let's layer in let's use let's go back to the mesa really quick and just to show show people the difference and do that section and do the two sections and then, um I mean, I can go back tio go to the west paul, if you have I mean I could go back to my guitar because I don't need the high okay, well, let's find out okay, so real quick which is going to switch their any mom switching over any questions anything did you have you sort of you started to have something when you were talking about external summing on the difference between in the box and outside the box I was just going to add that it's kind of like to me something externally is like creating a sculpture with clay as opposed to lego blocks there's just something about the infinite amount of detail and depth it's captured rather than digital ones and zeros oh, I agree I agree one hundred percent it's it's a big thing you know but I know a lot of you know, some people theyjust they're not gonna have that luxury of something and that's what it just I mean, honestly, have you ever noticed that that painting just getting rid of the panting and then just going left right on the on your assignment it's like whoa, it really is you you guys at home if you try that you will definitely notice a difference the guitars well, all of a sudden go from here to kind of like here and you're like, wow that's crazy it's just it makes a big difference and I know there's lots of people and there's there's all these even avid when they were designed, they published this white paper thing and talking about how how something doesn't matter and you know, it's the pro tools mixer is really greatness and it's like maybe I'm crazy, but I hear a difference I'm sorry, but you know, I know you do and I'm not I'm sure a lot of people do but just just it was a quick aside just a kind of point that out um okay so we're going back to our original sound or close to it anyway so let's get back giver to the q we don't need to die for this part so wait can we could just leave this chain up because really matter but yeah sure why not let's leave that patched in just in case yeah okay where's our original tracks that we just did I remember now are you on again there's no rules I mean I might want to change the blend for this section go ahead way down a little bit of fifty seven impeach the four fourteen more in this section you know you hear the difference on then events are just sorry about that go ahead play second there's a perfect example there's no there was no click there is like feel that part what's interesting is that second little high school all right let's double that up same thing now paying that off I just feel a little behind but I'm still if it's the late and see how you feel in the lead and see when we're perfect example he felt it didn't look just he just felt that part and you know that it's not about perfection is just about intent and now let's quickly duplicate this but just make it new track just really quickly there are three new for new now layering it in let's layer it in with the p v sixty five o five well we sent to the right tones I don't even know I can't even tell back their way let's see so I think on that one way stay with your guitar we dig your guitar last time, right let's try uh let's try a different guitar let's try layering in and with the fender again out all these different variables now we could switch guitars which that's going to add something when we later the guitar uh we're changing heads in a perfect world or we could just change mike's we could change my position we could change the blend between the two mikes again all these things all these variables playing to account so the fender is going to give us a little more attack you look like we don't have like a lot of gain on this at all really? But that kind of like really bright brassy attack blended with the thicker tone on the mesa is going to give us something pretty big. I'm only here you can't hear it are I can't hear the drums in the truck oh it's our turn my sorry I'm hearing on that just turning all the guitars down yeah please do you want to hear a little less of the other ones that were there already it's all right, this is just really let's let's just actually let's turn the other one's down a little bit. You really just focus on what this is, ok? And then just reacting to the drums on dh then sometimes just to kind of, like lock and sometimes with a lot of guitars when you're overdubbing and you're layering yeah, it's, hard to hear, you know, ideally, I'd like to hear it all together to go and get a feel for the how big it's getting and sometimes, you know, you go oh, you need to back off its too much or whatever, but so right now we're just focusing on this track that we're doing, and we're just trying to get that more, like, kind of, like, twenty attack on the from coming from the fender strat example showing the stuff and allow it sounds, you know, sounds with real different if you get lazy and the tendency is and I've done it too, tennessee is to get lazy, and I'll leave all these settings, even if you are leaving the same mike pre set, you know, the mikes on the cabinet and everything like that, you know, everything is different, every how it's reacting is different, so you still have to you might have to tweak your limiter might be hitting limiter differently just because there's not much low under too much low end so you know it's it's a constant living, breathing kind of entity and you're constantly adjusting and tweaking as you go so here's again still can hear it all here's guitar I'm like guessing right there, but I don't know if it sounded it worked when you punch in it was it louder than that when you punched him? But I'm here in the over there maybe that's it yeah I'm not really no if you want if you want to try it let's just let's just drop it down the front I want to get to reacting to ten that's what it is for you to realize where this loud in the sorry about that you don't realize it because I have the headphones on I'm in a bubble here all right let's, try that again. Well, again not get too tight. I'm not making a record here but uh it's trouble ok, right that's fine, but showing what that is and layering it in with like a cleaner a lot of times like same kind of concept of amusing is the d I a lot of times like a cleaner chinese or tone in with the distortion just adding that it's just making it really big in a way and almost by the by itself it's giving it it's almost a little a lot of times what's that yeah, and you can keep going because but I've really feel like I try to make it so I mean, sometimes you know it's like, ok, you wanted to really jump out and go oh my god there's like extra it's not the wallet guitars here, but then other times you're recording it so you're taking it in so you're not necessarily like going like here's four guitars you're not telling people like there's a lot of guitars here it's on lee enough to where it's just like it's like a just a mood change or feel change or just you're talking enough just so it alters the field enough of that makes sense yeah, it's awesome. Okay, uh you're talking about tuning guitars? Do you have particular tuners that you guys like stroke tuners or you have iraq tuner in the studio? What did he just go too for tuning? Yeah, I don't usually this this tc politan is pretty great now because I've been looking for a while for a pedal with true bypass but true bypass in other words, meaning like once you off when it's when you're not tuning with it, it's basically just like straight wire which is fantastic because I've always never had you know well the old boston's everything I feel like they color this sound a little bit so I don't try to go through them when we're going into the amp so we always have to like unplug and plug back in you know but this thing since it's when it's bypassed it straight wire it's fantastic and there's other tuners out there I know that they make true bypass tuners and that's the to me the thing and this politician is really accurate I think it's pretty fantastic and just to note we normally tune a lot more than this yes normally we're tio tuning a lot you know and it's tough because they tuned t standard you know um there's a few things that's going to drop with just a drop demand is basically always he standard um and then you know when you're dealing with like I do a lot of stuff with bands there you know super low tuned guitars and you know it's just it's really important especially when it gets that low it's just everything it's so wobbly and if you if you're not on top of the tuning you know it's just everything that way weaving in chorus sing and you know that sometimes it's cool sometimes you want school but I mean, you know, obviously punches and takes our feeling and stuff like that but it's pretty much universal when something that yeah that's not typically taste that that's out to five two do set up I have an old con analog stroke turner that's still the best it's very time consuming and very painstaking because you even have to select the note that your aunt likes to each is like it's it can be it can be a dragon you know again you're trying to keep the flow and keep the vibe up in the studio and if you're wasting all this time okay hold on plugging in the sound alike stroke to oh I gotta caliber oh I gotta switch notes it's like by the time you're done tuning the guitar the vibes already shot in the tar pit doesn't want to play anymore you know so I try to do is we tried to as fast we can while keeping in tune but maintaining the check but strobes air great also in terms of like people for setting up guitars and I talked about that yesterday about you know making sure your instruments and saying if you have to do it yourself you can go online and figure out and like you khun go online and get instruction on how to contain your own guitar but if you can get your hands on a stroke turner that will give you the best intonation possible anybody who worth any guitar tech worth their salt who in today's guitars will have a stroke tuner so right on, thanks, guys. That's. A good question, though. Yeah, thea app version that politan works good, doesn't really iphone. Yeah, we're says it's, the best iphone tuner app that that's aee I mean it's just yet. There's, no excuse for anybody beatitude anywhere, price, like, even when the cruise tickets are like, yeah, I have, ah, I forget which two you're the other one that was really popular. The tuner was on the iphone, but okay, yeah, it's, amazing, it's, just like, oh, I spent five bucks, and I have a great tuners in your pocket.

Class Description

Learn how to get perfect guitar tones in the studio during this 10-hour class on tracking guitars. In this course, Steve Evetts (Saves The Day, Suicide Silence) and special guest Ben Weinman (Dillinger Escape Plan) dive deep on everything you need to know about creating and capturing perfect guitar tones.

Getting great guitar tones is all about the details. Steve and Ben cover how to select the right guitar, strings and picks, how to choose the right head and cabinet combo, and how to get a great tone. From there, they go through the process of selecting and placing mics. Finally, they show you how to track guitars the professional way (no cutting corners— ever!) and edit the tracks so you’ve got everything you need for a flawless mix.

Reviews

Joshua Rathbun
 

Good basic knowledge, which delves into more detailed stuff later on in the course.