Seeking advice - Dialing in tones specifically for double-tracking

[Meiannatee]

As mentioned in the title, I humbly seek ye veteran “Pod heads†for advice on dialing in a tone specifically for double tracking. Looking for something like Tesseract’s rhythm tone. I think they are using 6505s. I would be helpful if someone can suggest the best amp/cab/mic combo for this, and the settings on them.

 

 

I’ve been messing with the 5150 (PV Panama) with a Screamer and hard gate before the amp, and mid-focus EQ after the amp. Sounds pretty good when playing alone, but double-tracked in a mix (plus drums and bass), it’s maybe 70% of a solid rhythm tone; sounds good, but maybe lacking a bit of punch, or a little something that I can't put my finger on.

 

From what I gathered, for double-tracked guitar parts, I should lower the gain a little to increase clarity. My Mid on the amp is currently quite high at around 80%. Exactly how different are double-tracking tones compared to single ones, and how differently should I approach this? Is there a recommended process for dialing in tones specifically for this?

 

Right now the only reliable way I can hear the end result is to record the sound double-tracked and listen to the playback. Quite a long, incremental process.

 

I don’t really play metal, but need this for my latest project. And it feels like a great opportunity to learn something different. So, any help will be greatly appreciated.

[Ultraworld]

Why are you using a TS in front of a 5150? I ask, because I own a original (1st yr) 5150 head and combo. They are wild with nothing in front of them.

[arislaf]

For metal double tracking, I usually copy - paste the same guitar to a second channel and then, adjust a few milliseconds to make it more wide, also pan 60-60

[joel_brown]

I use the same tone when double tracking.  But sometimes reducing the low frequencies, around 160hz and below can help tighten up the sound.  In the old analogue world, low frequencies didn't come through as loudly so it kind'a did this for us.  This is also true for higher frequencies too, above 8k.  In the new digital world, these frequencies come through much better.  A little EQ goes a long way.

 

I've done both methods.  Copy/paste the same guitar track and put a 10ms delay between them.  But nothing is quite as good as play the same part twice.  In both cases pan them L and R.  How much is up to you and what sounds the best.

[AlexKenivel]

In this case, a TS is primarily used as a pre EQ, cutting lows from the guitar signal, not really adding much drive. The popular thing to do is turn the drive all the way down and the output all the way up. I tend to set my output knob to taste, depending on different situations.

 

But you're right to turn down the gain when double tracking. Fresh strings and get those chops up. Record many takes and pick the best ones, or chop 'em and screw 'em if you're into that. I like to stick to generally the same tone and split 100% L and R or maybe a little in between.

 

I don't think picking the right cab or mic for the job is going to find you your dream tone. Think about shaping your tone around the bass tone to fit into frequency ranges that the bass' is cut at. Experiment a lot but always have a second or third opinion, have some bandmates with you, or like-minded friends.

[cclement]

I’ve had good luck with a more “midrange†heavy sound on one side, and moe “full range†sound on the other. YMMV

 

Another trick you can use to making your double-tracked guitars sound pretty huge is to take advantage of the Hass effect.

 

• Record a rhythm guitar track in stereo
• On playback delay one side (L or R) by a few milliseconds

 

This will give your guitar track an expanded sense of width. There are a few plug-ins out there for few that will do this – I’m fond of this one: http://www.vescofx.com/vfxFreeHaas.  However, keep the amount of delay short as it add comb filter effects if the stereo track is reduced to mono. As with most FX, subtle is better.