Metal Guitar Mixing Trick, Parallel Processing

Dan from Endless Recording Studios shows you his favorite trick for getting articulation and punch out of heavily distorted electric guitars in a dense mix.
The key is using Re-amping and parallel processing.

Please watch these other videos that are necessary to do this trick.

Di Boxes:

Re-amping

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[rodragains]

cool tips dude....how about those di links you mentioned. thx

[ArkhaneMusicOfficial]

Is this possible just using amp sims? I'm running into oversaturation or loss of tones when using two amp sims with the same DI track. It seems like a phase issue, but I'd like your opinion on this.

[Eventual]

Hi, I also record heavier sounds. Produce Like A Pro also covered this recently. I withheld my opinion on his comment section.

For me, the best sounds are the ones I record correctly, the first time around. I haven't found a good way to save my duds. Best to just redo those.

People often speak of double tracked hard panned. Initially I resisted this, but the subtle variation in performance makes it sound like two guys.

My objective was to make a single pass sound as good as possible. But without that second performance variation, those slight differences in the waveforms, slightly different rests, makes them bigger, like two guys instead of one.

For many years I refined the single pass method. Two amps and speaker sets instead of one, two mics on those, two mic preamps with different filters. Two different delay times, when appropriate.

That's all well and good. But still, the largest sound was consistently double tracked hard panned. This isn't the results I wanted either. I really wanted single pass to be enough.

Rather than go for a DI and reamp, those results are often worse than the original, a second performance and completely different chain thereafter, sounds nice and heavy.

Using reference tracks, each guitar mic line can be compared to a reference source. A friend makes neoclassical music, and I wanted to sound that heavy so I referenced his song and matched some EQ points by ear.

A Low Pass Filter down to 6200 and a High Pass Filter up to 100Hz was not enough. It needed a set of boosts in the lows and a scoop in the mid section to get modern. Even though I use Mesa Dual Rectifiers, to get really thumpy the EQ moves are required.

That's a lot of tweaking. I removed all the scrappy high frequencies. I boosted the low ends and shelved them at 100Hz. There is a scoop in the mids. A separate amp was used for left and right. A separate recording for left and right. No FX let's them be prominent. In order for anything to jump out of a mix, they have to be the only thing there.

I do not intend to be condescending. I am sure if you were with the band and had the ability to track great parts to begin with, you would have. Further, I'm not the biggest fan of modern sounds myself. But I would have sent an MP3 of their original guitar line and said I need one more of these and I'll hard pan them.

I'm pretty sure Produce Like A Pro knows how to sound vintagey, modern, and everything in between. Bob Marlette has a room full of cabs and mics. Warren has killer Marshall amps and uses a Kemper track. A lot of things didn't make sense.

Respectfully, Jim.