When recording and mixing guitar bands, one of the greatest challenges is making the tracks sound as big, exciting and loud as they do live. Producers employ various techniques to achieve this and, these days, double tracking guitars is almost de rigueur.
- READ MORE:吉他录音常见问题解答：如何仅用一个麦克风录制原声吉他
该术语是不言自明的，因为它通常是指将同一件事两次（或更多）记录到单个轨道上，然后将这些曲目左右平移的实践。这个想法是使吉他听起来更大，同时也增加宽度。
Putting two microphones on different speakers and recording them simultaneously is not double tracking. If effect, you’ll just be using up twice as much space on your hard disk than you need. The double tracking effect works because of timing and tuning inconsistencies that inevitably occur between two separate takes. The first time you try it and pan those powerchords out wide, we guarantee you’ll be impressed.
When to do it
The problem with double tracking is that it can sound so good, you may feel the urge to double-track everything. However, achieving a clear stereo picture in your mixes means placing individual elements across the left/right spectrum using pan pots. If you double track all the guitars, they’ll all end up sitting on top of each other in the mix, and that creates clutter rather than separation.
您需要选择双轨。声性节奏零件和动力琴是主要候选人。跟踪的Arpeggios也工作得很好。一些吉他手喜欢独奏以更厚的音调，但是当有即兴创作和自发性的要素时，可能会出现问题。另外，如果乐队中有两名吉他手，通常最好将它们保持在混合的相对侧。
Overdoing overdubs
在录制Backing Vocals时，您可能已经注意到，一旦跟踪同一部分几次，他们就会开始听起来不那么出色。调整问题变得越来越明显，色调质量变得更加顺畅，更甜美。但是，对人声的作用并不总是受益于吉他。
尽管通常很想继续跟踪吉他，但有一个重点，大型开始变得平淡无奇。和弦不再听起来很强烈，定义丢失了，整体效果听起来更像是键盘垫。这也可能是有效的，但它也可能是涂有漆的马歇尔背景的听觉，而不是一排燃烧的马歇尔堆栈。
关键是要与能量和兴奋之间的尺寸平衡，而做到这一点的方法不是过度使用过多。我们还从亚历克斯·凯恩（Alex Kane）（生命，性与死亡和反植物）那里学到了一个绝对的宝石，该宝石始终与奇数曲目合作。
So, rather than stick at two tracks, or four, go with three or five. The trick is to pan even numbers of tracks wide, but send the odd track straight up the centre of the mix. It doesn’t even have to be that present in the mix to provide added definition and bite.
不太相同
那马歇尔wallpaper effect is more likely to occur if you use the same sound every time. Try making small alterations to the amp’s tone or gain settings between overdubs. Or maybe use different guitars, amps, amp models or overdrive pedals. You can also try mixing high gain for heaviness with cleaner tones for definition and clarity. This will allow plenty of scope for fine-tuning the texture of your guitars later in the mix.
玩球场
Back in the tape era, the best multitrack tape machines had digital displays and controls so you could set exactly how much faster or slower you wanted to run than the usual 30 IPS (inches per second). A common trick was activating the varispeed to run a few cents fast on the first take and an equivalent amount slow on the second take.
吉他将吉他完美地调为螺距，然后磁带机恢复到固定速度，您最终会得到两个吉他轨道 - 一个非常锋利，另一个是平坦的。这创造了微妙的合唱效果，并增加了复杂性和规模。
Few of us work with multitrack tape recorders these days but you can manipulate pitch in your DAW, and accurate strobe tuner apps are commonplace so you can use them to tune your guitars a few cents sharp or flat. Experiment with the amount of pitch offset and see what works for you. It sounds best when the detuned tracks are combined with one track tuned to pitch and panned centrally.
Delay and reverb
回到大多数工作室仍然拥有八辆或16轨磁带机时，制片人没有录制多个吉他曲目的奢侈品。而不是双轨，而是通过延迟单元将吉他发送到约10毫秒的情况下，单个重复是通常的。将吉他轨道插入一侧，延迟回报向另一侧放置，您可以创建双重跟踪效果。这是您在无数唱片上听到的，它在电气和原声吉他上同样效果很好。
Since the thinking behind double tracking is often to create width and a grander scale rather than a wall of guitars, you can use delay and reverb to achieve those goals. Rather than have your effects returning in stereo, try using mono reverb and delay effects and pan them on the opposite side of the mix to the dry guitar. It’s an excellent way to create a sense of space and movement in a mix.
If you’re recording guitar in an ambient room, try using a close mic and an ambient mic and record onto separate tracks so you can pan them on opposite sides. If you double track, do the same but reverse the dry and ambience panning for the overdub. If you get this one right, the sound will be really huge.
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