Ella Walter
Double-tracking guitars and panning them is a common practice in music production, especially in genres like metal. The goal is to create a wide stereo image and make the guitars sound huge. There are various strategies for panning double-tracked guitars, including hard panning one guitar track left and the other right, or panning them at different angles to create a sense of width. Some producers prefer to bus the rhythm and lead guitar tracks to separate stereo group tracks before panning them to their desired positions in the stereo field. It's important to ensure that the double-tracked parts are in sync to avoid a messy or unwanted ping-pong effect.
| Characteristics | Values |
|---|---|
| Number of guitars | 2 or more |
| Panning | Hard pan left and right, or at angles such as 82%L/82%R |
| Lead guitar | Centered, or panned to one side |
| Rhythm guitar | Panned wider than the lead |
| Stereo sound | Add delays to each guitar |
| Multiple guitarists | Each guitarist plays all parts twice |
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What You'll Learn
Panning rhythm and lead guitar parts
Hard Panning
Hard panning is a common technique where rhythm guitar parts are panned hard left and right, creating a wide and expansive stereo sound. This technique can make the mix sound more energetic and full. However, it's important to ensure that the overall mix remains balanced. If a rhythm part is panned to one side without a similar part on the opposite side, the mix may "lean" to that side, resulting in an amateurish and distracting sound. To avoid this, you can either pan another guitar part to the opposite side or use an electronic double of the original part.
LCR Panning
LCR panning involves recording a main mono rhythm track panned to the centre, with additional tracks panned hard left and right. This approach allows for a wall of guitars sound while maintaining definition and clarity in the centre. It's important to ensure that the centre-panned track is well-dubbed with the left and right tracks to achieve a cohesive double or triple-tracking effect.
Width and Separation
When panning rhythm and lead guitar parts, it's essential to consider the width and separation of the instruments. For example, panning rhythm guitars too far left or right might make them sound distant. To address this, you can adjust the panning to bring them closer to the centre or use techniques like doubling to enhance their presence. Additionally, when dealing with multiple guitar parts, panning them individually or as stereo group tracks can impact the overall width and separation of the mix.
Lead Guitar Placement
The placement of lead guitars depends on various factors, including the presence of vocals and other instruments. If there are no vocals, placing the lead guitar in the centre can work well. However, if vocals are present, panning the lead guitar slightly to one side or doubling and panning it to both sides can create a more interesting sound while ensuring the vocal remains clear and centred.
Automation and Effects
Automation is crucial when working with lead guitar parts. Riding the fader helps keep the lead present and ensures it cuts through the mix. Additionally, effects like reverb and delay can be used to enhance the sense of space and create a more immersive listening experience. However, it's important not to overdo these effects to avoid clouding up the mix.
In conclusion, panning rhythm and lead guitar parts effectively involves creating a balanced and immersive mix while utilising techniques like hard panning, LCR panning, and width adjustment to achieve the desired sound and separation between instruments. Ultimately, trust your ears and make adjustments that sound right to you.
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LCR panning
When panning double-tracked guitars, it is important to consider the balance between the left and right channels. While hard panning to 100% left and right is possible, it may be preferable to pan to 82% or another amount that gives the right sense of "width" to the track. It is also important to check the mix in mono to ensure that balances have not been skewed.
One benefit of LCR panning is that it can help to create a clear and powerful mix, rather than one that sounds fussy and confused. It can also be used to sculpt the stereo guitars so that they do not drown out the centre-panned track, which can provide definition to the mix.
However, one potential issue with LCR panning is that the hard panning can create a false sense of separation that may cause problems when heard in mono. To counterbalance this, you can pan another part to the opposite side or create a fake double-track to retain the sense of width and space.
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Using stereo delays
When it comes to using stereo delays for double-tracked guitars, there are several techniques you can employ to achieve the desired stereo image and overall sound. Here are some detailed instructions and considerations:
Firstly, understand the concept of double tracking. This involves recording the same guitar part twice, creating two separate performances that will be panned to opposite sides of the stereo field. This technique adds depth, definition and a wider sound to your mix. It's important to note that simply duplicating and delaying one side is not true double tracking, as the unique nuances between two separate performances are what create the desired effect.
Now, let's discuss panning strategies. One common approach is to bus the two tracks to a stereo group track and pan them equal amounts left and right. For example, you might pan one track 82% left and the other 82% right, creating a balanced stereo image. You can then adjust the panning of this stereo bus to fine-tune its position in the stereo field. This method simplifies the process and ensures a cohesive stereo image for the double-tracked guitars.
Another strategy is to pan each track individually. This provides more flexibility in placing the guitars within the stereo field but can be more complex to manage. You might pan one guitar track 90% left and the other 10% right, or experiment with different combinations to achieve the desired sound. This approach allows for more intricate panning but requires careful attention to ensure the tracks don't clash or create an unintended ping-pong effect.
When using stereo delays, it's essential to consider the balance and separation of the double-tracked guitars in relation to the other elements of your mix. While double tracking can enhance the sound, overusing it can lead to clutter. Select specific parts to double track, such as acoustic rhythm parts, power chords, or tracked arpeggios. This ensures that the guitars complement each other and create a clear and defined stereo picture.
Additionally, experiment with different techniques to add variety. Try using a capo on the double-tracked guitar to create higher inversions and more complex chord voicings. You can also use different guitars, alter amp settings, or mix gain levels to fine-tune the texture and overall sound of the double-tracked guitars. Remember, the goal is to create a wide, exciting, and well-balanced stereo image that enhances the impact of the guitars in your mix.
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Quad tracking
Quad-tracking is a method of recording an instrument four times to create a "bigger" and fatter sound. It is an extension of the concept of double tracking, which only records the instrument twice. The beauty of quad-tracking is that it offers more options than double tracking, allowing for different tones and panning techniques to create a wider stereo field.
To achieve quad-tracking, you need to record the same take four times. You can then decide on the different tones you want for each take. You can opt for a different tone on all four takes or have two takes with the same tone. The most common approach to panning quad-tracked guitars is to pan two guitars hard left (L 100%) and two guitars hard right (R 100%), with the option of panning the other two guitars at 75% left and right for a wider stereo image. This technique helps avoid the issue of frequencies battling for the same space in the stereo field.
When quad-tracking, it is important to ensure tightness in your playing. Sloppy playing can result in messy-sounding quad-tracked parts, which may defeat the purpose of quad-tracking. Additionally, consider using different guitars, amps, and cabs to avoid buildup in a specific frequency range. Experiment with different gain structures, as a tone that sounds rough on its own may complement another tone.
While quad-tracking can create a massive sound, it may not be suitable for all songs or genres. It is essential to consider the style of music and whether quad-tracking will enhance or clutter the overall mix. In some cases, double tracking may be sufficient or even preferred to maintain clarity and definition in the sound.
Remember, there is no one-size-fits-all approach to panning quad-tracked guitars. The specific panning strategy you choose will depend on the desired effect and the genre of music. Experimentation is key to finding the right combination of tones and panning techniques that work best for your song.
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Creating a wide stereo spread
When double tracking, the guitarist plays a section of the song and then repeats it as closely as possible on a second track. The two performances will have microseconds of inconsistencies in timing, attack, release, and dynamics, which create feel, groove, and the intangible human factor.
There are various ways to create a wide stereo spread through double tracking. One way is to hard pan the two performances to opposite sides, creating a powerful sound. However, this can sometimes create a mess or an unwanted ping-pong effect, especially in headphones. To compensate for this, you can send the panned guitars to a short delay with the return in the opposite channel.
Another way to create a wide stereo spread is to pan each guitar performance to opposite sides but not quite as extremely as a hard pan. For example, you could pan one guitar performance 60% to 70% to the left and the other performance 60% to 70% to the right. This can help certain parts, such as leads, stand out more.
Additionally, you can create a wide stereo spread by busing two guitar performances to a stereo group track and panning them equal amounts in opposite directions. For example, you could pan both performances 82% to the left and 82% to the right. You can then pan the stereo bus to where you want it focused in the stereo field. For example, you could pan the rhythm bus 24% to the left and the lead bus 22% to the right.
It's important to note that there is no exact right or wrong way to create a wide stereo spread through double tracking. The best approach depends on the particular mix and what sounds best.
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Frequently asked questions
There is no one-size-fits-all answer, but a common approach is to bus the rhythm and lead guitar parts separately to stereo group tracks and pan them equal amounts left and right, not necessarily 100%L/100%R, but always equal amounts.
To achieve a wide stereo sound, you can experiment with panning hard left and right, but be cautious not to create an unbalanced tone. Additionally, consider using delays or reverbs sparingly to enhance the stereo effect.
It is not necessary to change the default "balance" setting to "Stereo Pan" when double-tracking guitars. Recording each track in mono and panning them left and right is a common strategy that provides a solid foundation for creating a stereo mix.
Ensure that each take is perfectly in sync when double-tracking or quad-tracking. Even slight discrepancies can result in an undesirable ping-pong effect or a messy sound. Maintain a tight dub between the original track and the double-tracked guitar to ensure a cohesive performance.
Start by balancing the drums and bass to create an "anchor" for the guitars. Gradually add the guitar parts, panning them to create the desired stereo image. Check the mix in mono frequently to ensure the balances are correct before finalizing the panning positions.
