raithza wrote
hmm I've never even considered using the same recorded track, split left and right to dual track - I always record twice, and try and keep my playing as similar as possible with identical settings and then pan. Will give that a go...
What you were doing before is the better way, IMO. I prefer hearing two different takes doubled tightly L and R and it often gels better in the mix and has a wider feel. Although, as simple and straightforward as this sounds, this can also become tricky. There is this phenomenon that my mentor used to call "cross modulation". Basically the idea is that even though you have two different takes, phase cancellation can still occur between them because of the basic similarities in shape of the waveforms and also because of the specific response of the microphone and subsequent components in the chain. This is especially true of distorted guitars. In other words, if you record distorted guitars with the same guitar, amp, mic, and mic preamp in the same room and in the same position, certain frequencies will cancel when the two tracks are combined or collapse into mono. It might sound good in stereo, but as soon as you go mono, you can lose your guitars almost completely.
A way to combat this is to record your doubled part with a different guitar, or different amp, or change the mic/preamp combination, etc, to introduce non-linearities to the sound so that it differs to the original take. Of course, you have to make sure the tone is similar, but with a little experimenting it's not difficult.
The problem with applying the Haas effect to a mono sound and panning it L and R is that it will introduce comb filter cancellations as a result of phase shift when it collapses to mono. The other problem with this effect is that even though one side, say the right, is delayed - creating "pseudo" stereo - your ear will always be drawn to the original, undelayed version on the left first, especially with rhythmic, transient heavy material. The reason for this is because in nature two exact sounds will never come at you from two different angles and the ear is drawn automatically to the one it hears first, which, in this case, is on the left. The way we hear and perceive sound is all a result of human evolution, which is quite amazing.
Another thing I like to do is layer different guitar/amp combinations, especially with rhythm guitars and fit sounds together in a creative way. What I'll often do is use a Marshall set to lightly cruch and a Tele on the neck position pickup selection (sometimes I'll use the bridge, depending) which gives a nice jangely, toppy sound, and then I'll combine it with an SG/Laney with more gain and set to have a darker sound. I'll then blend them until I have a nice full sound that requires little EQ and is nice and present. As the song goes on you can automate how much of each sound to bring out, depending on how you want the song to flow.
And lastly, to supplement this thread, I really am a fan of Dave Moulton's work so here is the link to all his articles on mixing:
http://www.moultonlabs.com/main/cat/Mixing/
Cheers ?
