Distorted guitar EQ - Guidelines

G

gusfmm

New member
I'm one who thinks EQ is 50% of your sound. A good tube pre-amp and tube power amp are 45% and the rest can be distributed among your FXs. I use a rig comprissed of compressor, Mesa Triaxis, Digi 2101LE multiFX, a couple of other gadgets, and then Mesa 20/20 tube amp feeding a 2x12 Mesa cab.

I've turned myself lately into refining my sound and after distortion EQ is the best way, I believe, to achieve it. While the Triaxis offers quite an assortment of sonic possibilities itself, I think I've already programmed in about 7 to 10 distorted sounds that very well cover all my needs. But from time to time, I still feel I need to fiddle the sound from the Triaxis a bit to make it sound really right where I like it. Is in those moments when I go and play with the multiFX parametric EQ, opening dozens of new other possibilities.

Although trying to match this or that player's sound that you think is great is very challenging as recordings involve many other variables, most probably being introduced at the mixing/mastering studio, I was wondering whether someone could suggest some examples of parametric EQ settings that in your opinion help a heavily distorted metal guitar sound be more focused, tight and right for you to record and later on mix down.
(Footnote: I'm not saturating the sound with gain, drive and/or bass all maxed out at 10 on the Triaxis; just in case)
 
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boost the hell out of your mids. definitely don't scoop them if you want a tight articulate sound, that will just get you mush. personally Ive always thought eq was the type of thing you can't really tell someone how to do because its mostly just finding the right sound, but I really want to make sure you're not scooping the mids. also roll back the bass, and then do whatever with the treble. It should be around 3 or 4 bass, 7 or 8 mids, 5 or 6 for treble.
 
You can't boost something that's not there (i.e., don't cut too much mids, etc.), sometimes something that sits well in the mix may sound like ass on its own and vice versa. Also, you can only go so far attenuating post-recording. I find that if I try to stretch things too far, things start sounding really synthetic. Also, some may scoff at this, but for heavier guitars, the bbe sonic maximizer plug-in can help, as long as it is used conservatively.
 
I recently tracked a heavily distorted Marshall and found the best way is to just make a big cut and sweep it across to find where it sounds best and lets the other instruments come through the mix - then tweak that to your liking. So a sweepable EQ should help.
 
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