Doubling Thread Continued.....

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Drummerbones

Drummerbones

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I read through most of the other thread on doubling guitars etc. My question is (and I almost dare to ask because Lord knows there are no RIGHT answers, just opinions...), what pan setting are you all using when applying this technique? Not what is the RIGHT way, but the way YOU typically use? Personally, and yes I know every song is different, but I usually get 3 good passes at the guitar line. One panned hard right, one hard left, and one in the center that I sneak up under the vocals to fill it out. The goal here is obviously to create a space for the vocals to sit while maintaining the guitar "wall of sound". Anyone else have some thoughts or suggestions for other tricks to obtain this same effect? Let the arguing begin! :)
 
I usually send one far right and one far left and keep all the leads and fills somewhere close if not in the direct center.
 
scottboyher said:
I usually send one far right and one far left and keep all the leads and fills somewhere close if not in the direct center.
Click to expand...

Same Here
 
I do not use this effect/trick/method very often. Here is one example.

When the vocals kick in on this track:

http://artists.mp3s.com/artist_song/80/80822.html

You will hear guitars panned 25%/75%.

I did not read the entire thread, but I am assuming that you are refering to two different tracks containing two different guitar takes. This is what we did for this sound.

Hope this is useful
 
Drummerbones said:
I read through most of the other thread on doubling guitars etc. My question is (and I almost dare to ask because Lord knows there are no RIGHT answers, just opinions...), what pan setting are you all using when applying this technique? Not what is the RIGHT way, but the way YOU typically use? Personally, and yes I know every song is different, but I usually get 3 good passes at the guitar line. One panned hard right, one hard left, and one in the center that I sneak up under the vocals to fill it out. The goal here is obviously to create a space for the vocals to sit while maintaining the guitar "wall of sound". Anyone else have some thoughts or suggestions for other tricks to obtain this same effect? Let the arguing begin! :)
Click to expand...
Are we talking about rhythm parts or lead breaks? Because what you described is pretty much dead on the way Randy Rhoads' lead breaks were recorded (not sure about his rhythm work, but seems likely to be the same).
 
Mostly rhythm, being played multiple times, not cloned. I've found it's better to clone & delay on lead stuff since it's nearly impossible to nail a lead exactly more than once....especially if you're an improvising style of player. Then again, I don't have Randy playing guitar for me either!
 
If I double the part exactly or close to it, it gets panned hard left and right.....

If its 2 different parts Ill bring them in closer, wherever it sounds good......
 
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