Hey all,
I started roughing out mixes for my band's EP, and I wanted to show you guys a technique I use to add weight to rhythm guitars.
So, in the following clips, we have 4 rhythm tracks. A Bogner Uberschall and Overloud TH2 on the left, and a Diezel VH4 CH3 and another setting in Overloud on the right. Guitars were (left-to-right) a Les Paul baritone, an EBMM Silo baritone, the Silo again, and a PRS Mushok baritone.
Then there are 2 "sludge" tracks, one on each side. Basically, you want low end. Fuzz and balls, and that's it. Try to get some definition, but we're not aiming for a tight tone on these tracks. Go crazy with it. I like chaining several fuzz and dirt boxes into a high gain amp. The performance must be tight, and then pocketed to get the effect.
FULL MIX
MIX WITH SLUDGE TRACKS MUTED
SOLO'D RHYTHM TRACKS
SOLO'D SLUDGE TRACKS
In terms of editing, I usually like to lock things in as tight as possible. Cutting out any noise between notes/passages so that the sludge tracks don't sustain past the rhythms. Chugging parts/rakes are edited to sound almost like a stutter. This helps to add impact and definition to the chugging parts in the rhythm tracks. You have to go by feel, though. Each part/song will require a different approach. It can take a long time, but it's worth it in the end.
What we are looking for is something that you don't notice until it's pulled out of the mix. These sludge tracks should never stand out, unless it's a specific effect. Doing it this way allows you to dial in the body of the rhythm guitars, and allows you to accent certain passages just by adding or subtracting weight with the sludge tracks.
And that's about it.
Thanks guys.
-Jordon
I started roughing out mixes for my band's EP, and I wanted to show you guys a technique I use to add weight to rhythm guitars.
So, in the following clips, we have 4 rhythm tracks. A Bogner Uberschall and Overloud TH2 on the left, and a Diezel VH4 CH3 and another setting in Overloud on the right. Guitars were (left-to-right) a Les Paul baritone, an EBMM Silo baritone, the Silo again, and a PRS Mushok baritone.
Then there are 2 "sludge" tracks, one on each side. Basically, you want low end. Fuzz and balls, and that's it. Try to get some definition, but we're not aiming for a tight tone on these tracks. Go crazy with it. I like chaining several fuzz and dirt boxes into a high gain amp. The performance must be tight, and then pocketed to get the effect.
FULL MIX
MIX WITH SLUDGE TRACKS MUTED
SOLO'D RHYTHM TRACKS
SOLO'D SLUDGE TRACKS
In terms of editing, I usually like to lock things in as tight as possible. Cutting out any noise between notes/passages so that the sludge tracks don't sustain past the rhythms. Chugging parts/rakes are edited to sound almost like a stutter. This helps to add impact and definition to the chugging parts in the rhythm tracks. You have to go by feel, though. Each part/song will require a different approach. It can take a long time, but it's worth it in the end.
What we are looking for is something that you don't notice until it's pulled out of the mix. These sludge tracks should never stand out, unless it's a specific effect. Doing it this way allows you to dial in the body of the rhythm guitars, and allows you to accent certain passages just by adding or subtracting weight with the sludge tracks.
And that's about it.
Thanks guys.
-Jordon