Hey cats, I have a tune with a distorted solo over a distorted rythym guitar. What is an appropriate EQing technique as to allow both parts some room to breathe (it seems to me that their freq response curves are very similar) - it seems the lead takes over which is good to a point, but I bet it could be better - I have a tune in the MP3 mixing clinic from late June that has this phenomenon(probably not the biggest problem of that tune, but an example of what I'm talking about, nonetheless). Rock oN
EQing rythym and lead guitar
- Thread starter et MA
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Roel
That SMART guy.
Well.... With a proper sound for both guitars, and good recording technique, a good start would be no EQ. Then small adjustements where needed.
That's about all there is to say about that.
Listen to the tracks together and try to hear the frequencies that either bother you, or are unclear, stuff like that... There is no general rule...
I mixed a solo on an album a while ago... The only thing I changed was taking a little hi-mid out of it because it was kindof too cutting... It hurt my ears... So I smoothened it a bit there. That was it.
Also, for more clarity, a common mistake is that guitars are recorded with too much distortion. That is really hard to work with. Also live. Too much distortion makes it undefined sounding...
That's about all there is to say about that.
Listen to the tracks together and try to hear the frequencies that either bother you, or are unclear, stuff like that... There is no general rule...
I mixed a solo on an album a while ago... The only thing I changed was taking a little hi-mid out of it because it was kindof too cutting... It hurt my ears... So I smoothened it a bit there. That was it.
Also, for more clarity, a common mistake is that guitars are recorded with too much distortion. That is really hard to work with. Also live. Too much distortion makes it undefined sounding...
BrettB
New member
Roel is right about the distortion stuff: often people just put the distortion up when the guitar doesn't sound powerfull enough, while they end up muddying it all up.
I do cut on rythm guitar sometimes, especially when they are distorted. It all depends which genre you're mixing, but distorted guitars can often get in the way of your bass. Not much guitarists cut on their low frequencies (kinda normal: when you play on your own it sounds less powerful), but when recording a whole band it can easily muddy the low end up. When you're bass guitar is right in the mix, you can surprise how much more clarity it can get by cutting a bit of the low frequencies
greetings
Brett
I do cut on rythm guitar sometimes, especially when they are distorted. It all depends which genre you're mixing, but distorted guitars can often get in the way of your bass. Not much guitarists cut on their low frequencies (kinda normal: when you play on your own it sounds less powerful), but when recording a whole band it can easily muddy the low end up. When you're bass guitar is right in the mix, you can surprise how much more clarity it can get by cutting a bit of the low frequencies
greetings
Brett
Tom Hicks
Well-known member
Was it the same guitar tracking both rhythm and lead?That is a sure plan for clashing freqs.Try LP on rhythm and strat on lead or vice versa.If you have to use the same axe,change pickups so the freq responce is different.Use different amps or amp settings for each track.Each instrument needs a way to shine on its own so that folks can easily hear the differences in the mix.
I generally cut guitar @125Hz minus 10 dB to give the bass, snare and kick less competition.
I generally cut guitar @125Hz minus 10 dB to give the bass, snare and kick less competition.
participant
New member
All good responses. Said another way, you need to track the guits so they don't compete for frequencies before you mix anything. Use your tone knobs, different pickups, different guitars, different FX, different mic, different amp, different POD/J-Station setting, or even an EQ pedal for each part -- to make sure the parts don't compete so much... then, the EQing during mixdown will be easy.
You're trying to create two parts that fit together; if you were doing carpentry, and you had to join two pieces of wood, you'd cut them so they fit from the beginning (close as possible). Same thing when tracking. You try to avoid "overlapping" frequencies from the start.
Chad
You're trying to create two parts that fit together; if you were doing carpentry, and you had to join two pieces of wood, you'd cut them so they fit from the beginning (close as possible). Same thing when tracking. You try to avoid "overlapping" frequencies from the start.
Chad
I see....
Thanks for the replies! Yes, the axe is the same but the FX are distinctly diff and I am happy with the level of distortion. It just seemed to me that when the solo kicks in, the rythym gets sort of washed out - I don't think it is offensive, it just bugs me. I should have altered the tone controls a bit prior to recording. I guess knowing that this may occur in the future will make me consider it b4hand!
Thanks for the replies! Yes, the axe is the same but the FX are distinctly diff and I am happy with the level of distortion. It just seemed to me that when the solo kicks in, the rythym gets sort of washed out - I don't think it is offensive, it just bugs me. I should have altered the tone controls a bit prior to recording. I guess knowing that this may occur in the future will make me consider it b4hand!
EQing is not the only way to make space. Have you tried panning? If I understand you, you still want the rhythm guitar to have prominence during the solo? If so, you can try panning the rhythm harder to the side its on (automation is handy) and then pull it back to where it was after the solo. I assume the rhythm is panned somewhat off center and the solo is dead center. You can also boost the level of the rhythm or lower the level of the solo. Or a combination of panning and level.
I read on another forum of someone widening the panning of all the tracks during the chorus for added space for the voice and then bringing the panning back to normal after the chrous. Apparently, the client loved it. Haven't tried it myself but it sounds like a good trick.
I read on another forum of someone widening the panning of all the tracks during the chorus for added space for the voice and then bringing the panning back to normal after the chrous. Apparently, the client loved it. Haven't tried it myself but it sounds like a good trick.
