Great guitars are easy if the perfect take is perfectly captured. But what if they aren’t? In this article Mike Exeter offers some expert advice on how to deal with guitars which fight back…
I’m often asked about how to get a great guitar sound and it’s easy to resort to the flippant response of “start with a great guitarist, a well set up and brilliant sounding guitar and amp, and put a mic in front of it”
I’ve been struggling with recording and mixing ‘epic’ guitar sounds. I’m after something that balances aggression with tone, but which doesn’t sound too distorted like so many contemporary hard-rock records do today. Do you have any tips that might help?
Great tips from Mike Senior as usual.
Studio One’s Autofilter has a sidechain, which is a good thing—because you can get some really tight, funky sounds by feeding a drum track’s send into the Autofilter’s sidechain. Then, use the Autofilter’s sidechain to modulate a track’s audio in time with the beat. Funky guitar, anyone?
Barring distortion, few effects are as essential to mixing guitars as reverb and delay. From reggae strokes to stadium rock epicness and blissful tape echo soundscapes, we’ve relied heavily on ambience processors to shape some of the most distinctive guitar sounds in contemporary music.
In part one of this four-part series, we focused on the versatility of Neutron 2 for mixing vocals. In part two, we’re using Neutron as an all-in-one dynamics processing tool for guitars. In parts three and four, we’ll be going through tips on using Neutron 2 for bass and drums.