Tips for Automating Width on Mono Electric Guitar

Transcript:

Hey, what’s up guys? David Glenn of theproaudiofiles.com and davidglennrecording.com, home of the free VIP mix training bundle. If you haven’t done so yet, go sign up, join the mailing list. You’re going to gain access to two sets of multitracks that you can mix and use for your resume, practice mixing… You’re going to get a whole slew of impulse responses, a couple of free video courses, instant downloads, and a ton more, free just for joining the mailing list.

In this video, we’re going to take a look at kind of an advanced mixing trick, I called it. I’ve got a guitar, and the pattern of the guitar lends itself to some automation to throw out wide, and create a cool effect. I’ve used the Waves ADT. This is a great plug-in. I’m really stoked about picking this up.

If you don’t have this, there’s a couple of ways you can also conceptually do something similar. It’s not going to be the exact same effect as the ADT, but this one kind of stands on its own.

But anyways, conceptually, you can still pick up from this tutorial. I’m going to hit play and show you what I’ve done to this guitar. The first one up here is the actual guitar that you’ll hear mainly in the mix, and then the one below it, I’ve – it was a stereo guitar that was in mono, so instead of just ditching the second guitar, I threw a spring reverb at 100% wet to create kind of a parallel of the spring reverb sound, but then I put a little bit of treble to boost that up and do some stuff.

So anyways, these two guitars make up the sound, and automation is on the first track. So let’s take a look at what it sounds like, and then if you like it, stick with me, and I’ll show you how I did it.

[electric guitar]

Alright, cool. So very clearly, you can see that I’ve got the bypass being automated for those couple of guitar licks – the little slap-age going on. I’ve got selected sixteenth notes. So, the guitar is right up the middle, and what I wanted to do is in the mix – I’ll just play this snippet here before this effect comes in – is I wanted to just kind of shoot it out wide, as if two guitars had come in and accented that part.

So, let’s take a listen in the mix.

[mix]

Okay. So, the ADT does an incredible job of that. It’s also got the pitch shift movement going on, but if you don’t have the real ADT, then by all means, check out what you can do with just your stock delay.

I’ve got a delay setup here. This comes stock with – free with Pro Tools. 35 on the left, 35 on the right. Thing I picked up from Kenny Gioia back in the DUC – the Avid Forum – years and years ago, but zero percent wet on the left side of your delay, 100% wet on the right, you can play with those numbers and get it to taste.

Pretty much, it’s going to create the impression of the left is going to be dry, the right is going to be slightly affected, so it’s going to give the impression of two guitars. It sounds like this.

[mix plays]

Still pretty cool, right?

So, that sounds great. You could always send that and automate to a pitch shifter, or a doubler. The difference with the ADT is it’s like a randomized movement. I don’t even know what they’ve got going on behind the scenes. The whole Abbey Road deal there.
So, this one was short and sweet, but I hope you dig that. Getting creative with the guitars and tons more coming your way.

David Glenn

David Glenn

David Glenn is a producer/engineer/musician based out of Orlando, FL. Credits include: Pablo Villatoro, Blanca Callahan (Group 1 Crew), Aimee Allen, and more. Learn more and get in touch at davidglennrecording.com.
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