Hell, Nolly’s bass tones in Periphery make up a HUGE part of the overall sound. All the balls on that album come from the drums and bass, much like a lot of modern metal. Metallica’s Black Album isolated tracks are a good eye opener because as huge as that album sounds, the guitars are anything but huge sounding.
After a while of figuring out what works and what doesn’t, you can pretty much rely on a LPF/HPF to get them to sit in the track properly.Ĭheck out some “Guitar Only” tracks on YouTube of famous recordings. It’s a common mistake for guitarist to try to get the thickest, meatiest tone they can, only to find that all that meat gets cut out in the studio when making room for the bass/drums/keys. Once you start recording, you’ll spend a few months figuring out what frequencies work in a mix and what doesn’t, then you’ll probably revisit that 6 months after that and have new conclusions.
That’s a really great starting point to figure out how to pinpoint frequencies you don’t dig. I get annoyed by frequencies around 4K and all my chugga chugga presets battle that in one way or the other.Ĭheck out Leon Todd’s videos on how he dials in his Mesa presets, he goes on about multiband compression and using the PEQ to get rid of unwanted frequencies. It IS a bit of a hassle to find the right level of bright, though. Really, when you isolate most recorded metal guitar tones, it’s practically a wall of white noise with some note definition. A bright tone isn’t a bad thing, even in the metal context.
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