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As engineers and producers, we’re tasked to get the most we can out of the space between two speakers. Seems like a simple task, right?
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Guitar solos are one of those things that you can never have enough of. Over the top shredding finds its way front and center in tons of rock & metal songs, as well as nearly every other genre that supports a bit of face-melting.
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What’s the largest session you’ve ever worked on? 50 tracks? 100 tracks? 200? At what point do you start losing individuality between the tracks and start muting instruments for space?
Echoes and delays can sound amazing when used in the right context, but what do you do when they’re muddying up your source audio track?
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Tracking guitars can be an extremely long process that requires an acute attention to detail – not just from the guitarist, but the engineer/producer as well.
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