how to tell someone their choice of distortion sucks

Another good angle to throw at him;

Just explain how other artist dont even use the same rig or guitar in the studio.

I would also play tricks with his monitor track in the headphones.

All the reamping ideas are good, but sounds time consuming to me.
 
I agree that re-amping can be a solution.........but it does not help the guitar player learn how to improve tone.

When I track guitar players, if I really think there is a problem (out of tune, too loud, bad tone, etc.) I will suggest options. If this is not immediately accepted, I stick my mic of choice in front of the cab and track.......as is.

I then do a playback, with flat EQ - to reflect exactly what the mic is "hearing". Normally, I don't have to point out any tonal flaws - either the guitarist or someone in the band will comment "the guitar sounds like shit" (or something along those lines).

I then discuss the tone with the guitar player/band/producer....whoever is logical person - and make suggestions. Normally, at that point we reach a mutual agreement to try do what it takes to get a good sound.

If I can't get the guitar player to adjust, I simply explain that I will track the sounds offered to me, that I will not be able to significantly "fix it in the mix" and that they will likely be less than pleased with the end result. I also emphasize, that they will still be paying for the final product.....even if they are not happy with the guitar sound.

I then proceed with tracking............but make sure I'm getting paid as we go......because I figure they will be unhappy in the end and then try to reduce or refuse payment. Oh yeah......I also make a mental note to avoid recording that particular guitar player in the future.
 
ranjam said:
  1. Take their money.
  2. Let them deal with trying to sell CD's with poopy tone.
  3. Spend their money getting cool gear.
  4. When they can't sell any CD's, they blame you, and never come back to record with you. So?
  5. Any of their money you didn't spend on cool gear can get you enough alcohol so you forget the whole mess.
Click to expand...


The problem with this approach, of course, is it's very easy for them to say, "Well, so-and-so recorded this, and the guitars sounded awesome in the room. His mixing just sucks, don't record with him." A great way to trash your reputation, especially if you're young (which you are) and don't have an extensive catalogue of recorded work under your belt (which I'm guessing you don't).

Couple ways you could go. One is WhiteStrat's suggestion, where you just make them listen back to the tone in the mix, and hope they get more flexible after that. If they hear it, and don't like it, then you've got some credibility suddenly. If they hear it, and DO like it, well, whatever, it's their tone.

Also, if you've got the time/they've got the money, let them track the guitars the way they want, and then say something like, "You know, the guitars don't sound quite full enough to me... Let's quad-track them, except to make them a bit bigger let's use a lower gain, brighter sound to compliment the high-gain, darker sound you've already got. All the big bands do this." Not only is that true, it also gives you the option to simply mute or mix back the super-high-gain tracks and let the double-tracked lower gain sounds be the primary tone.

This also works with Farview's point - if they're hearing their wall-o-gain sound coming back at them through the headphones, they won't mind so much that you've got them running through a lower-gain sound because the vibe will still be there.

By the way, don't discount the Tubescreamer - it's sort of an Andy Sneap thing, using a TS9 as sort of a pre-EQ in front of a Rectifier, and I've heard of guys getting good results doing the same thing with a Marshall, too. The idea isn't to add gain as much as it is to mix up the harmonic content a little (something about even and odd harmonics, I forget), and to tighten up the bass a little bit. I don't come even CLOSE to diming the gain on my Rectoverb (2/3 at most), and I don't always use a boost (and when I do it's set for just the slightest extra grit and little to no percieved volume boost), but it is a pretty cool option (and, incidently, doubling tracks with a boost against tracks without sounds HUGE in ways I don't quite understand).
 
I'd seriously just be a total dick about the whole deal and tell them..."Hey, listen to this...hear that? yeah, your guitar tone sucks. Trust me." And then get in a pissy fight and what not, and hopefully he'll finally catch a hint.


Elliot
 
If you've got some good examples of previous recordings in which the guitars sound awesome, show them the previous examples, and tell them how you got that sound.

I've got a shit-ton of examples of sweet sounding guitars, and I refuse to let a band sound like complete ass, so I generally get my way. And by generally, I mean every single time. If they don't like it, they can record with someone else.

THIS IS ALL ASSUMING YOU KNOW WHAT THEY WANT! If you don't know the sound they're going for, let them track the way they like it, and then talk it over with them once you've got some stuff laid down. If they like their tone, but you hear a couple things that could make your job easier mixing-wise, yet keep "their sound", go for it.
 
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