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INTERMEDIATE
RECORDING TRAINING - PAID SUBSCRIBER ONLY ARTICLE - FREE ACCESS
UNTIL JUNE 25, 2002 ISSUE |
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| A common production technique is the creation of double-tracked
electric rhythm guitars.
The double-tracking of rhythm guitar parts gives a fuller, more interesting sound
and image in the final mix. The same can be said for lead guitar
tracks. This is a real effective way of hyping sound on the CD
for a band, especially on a recording for a three or four piece rock group. There are techniques of simulating double tracks with effects units, but
that's not what I am addressing here. I'm talking about two separate performances,
recorded on two different tracks, to make the production have fuller and more interesting
guitar sounds. |
| Take for example a rock band
production. If you keep adding different guitar
parts you can create a monster recorded sound that the band has no chance of performing.
The result can be that the record buyers see the band live and walk away with the
feeling that "Their record sounds great, but they s**k live." This is
because the band doesn't bring in 3 extra guitar players to perform all of the parts for
the live performance. If you double, however, the audience hears pretty much
the same musical parts as on the CD and walks away with a better attitude. |
| The
principles would not just apply to guitar parts, but to just about any instrument. |
| TYPES OF DOUBLES |
| TIGHT DOUBLES |
With tight doubles, you take the time to make sure each and every note on
the double-track matches the original track. This type of double is used to create
the illusion of one performance that is very thick or fat sounding. |
| PARTIAL DOUBLES |
This is the same kind of technique as the tight double, except that only
key riffs or certain sections are doubled. This changes the tone or thickness for
those riffs or sections. This, for instance, may be done on the chorus parts only.
The partial double increases loudness on the doubled parts without that much
difference in actual metered level. |
| LOOSE DOUBLES |
With loose doubles, the double-track has a second performance but there
are slight variations, usually caused by not trying to get the parts exact. Often
the slight variations of the double-track creates interest at the expense of making the
double-tracking obvious. |
| CALL AND ANSWER DOUBLES |
A "Call And Answer" double has some sections with the double
performance tightly matching the original, and other sections with the double playing in
the "blank" spots of the original track. It could be, for instance, that
during the verses each guitar does every other line or it could simply be riffs placed
"in-between" the first guitar's lines. A variation of this kind of double
would be for the double-track to play harmony |
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| PANNING IN MIXING |
| If you are creating stereo guitar doubles, there are generally three
types of panning configurations used during the mixdown, each more applicable to the
different types of doubles. |
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The distinct panning gives the maximum stereo effect and enhances the
differences in the original and double tracks. This type of panning is most often
used for Call And Answer doubles but sometimes used for Loose doubles. It is
generally avoided for Tight or Partial doubles. |
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The partial wash panning gives some stereo effect and is most often used
for Loose doubles. Sometimes it is effective for Call And Answer doubles, especially
when the doubled guitar plays "between the lines" of the original track.
This panning is not often used for Tight or Partial doubles. |
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The full wash panning has an "outer-guitar" and an
"inner-guitar." This panning tends to disguise the doubling and enhance
the fattening of the sound. This panning is ideal for Tight doubles and Partial
doubles. With this type of panning, ether guitar could be paced "outer" or
"inner." |
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