Another thing i have found useful for my 7-string is to use a compressor on the channel insert. I set it modestly.
Depending on the setting of my amp, I use the follwing settings:
Threshold of about -8
Ratio of 1:3:1 (maybe a clikc or two towards 2:1)
just below 9 o'clock on the attack and a bit slower on the release
This squishes it ever so slightly to control it without compromising tone.
Our bassist uses 7 string basses and one 8 string (ludricous stringage I know lol). To keep us from crossing into each other's range and killing tones, I do as above and back off on the lower frequencies of the guitar. For my mid-low freq, I sweep it just above center and raise the level a db.
Alot of it has to do with the amps the band is using too. As we all know, some amps sound crunchy and powerful cranked to 11 and hauling wide ass open. try and record it and the sounds comes out as absolute squat.
I recorded in a session with a dropped D volume demon like that. The engineer wound up putting out an OH condensor, a large diaphragm, a couple of 57's aimed at the cabinet, and (of all things) some cheapo Peavey omnidirectional mic. He disengaged all EQ's and recorded natural with each channel dialed in at 0db. Each mic went to a separate track.
He listened to each track independently on playback. He then listened to combinations of them. He wound up using the two 57's after pulling one a bit further away and that dang Peavey mic. The recorded sound was better than the live sound! That Peavey mic picked up all the midrange and left the high's and lows to the 57's. The Peavey was placed right above the guitarist's head pointing towards the 4X12 cabinet. basically, it was placed as close to the ears of the player as possible to see if the engineer could capture what the guitarist was hearing.
Thta evening was a huge learning experience for all of us lol.
At least myself and the bassist knew self control when it came to volume
