The best quality you can get is a performance that is played in real-time with no time-stretching at all. So it will be necessary to record each guitar part at least twice in order to double all the parts in the mix. Use different amp simulations for every guitar track and make sure that the sounds of the various amps complement each other.
Note: If you just duplicate a recording the result is not doubling because this only adds volume to the original track when using no frequency modulation effects. If you do so, always start recording some bars before the actual part begins because you want to create a fluent transition from one recording to the other. The first thing we need to deal with is panning. Since we want to create a wide spread and powerful guitar wall, here is one way to go: Guitar 1: approximately halfway to the right, doubled with another part playing exactly the same pattern panned completely to the left.
Guitar 2: approximately halfway to the left, doubled with another part playing exactly the same pattern panned completely to the right. Guitar 3: in the middle playing higher notes which complement the chord structure.
Of course, all guitars may play the same part in unison or in octaves. Whatever arrangement fits your needs best, go with it. Listen to Example 1 in order to get an idea of what the above described panning sounds like. Here are some basic guidelines for equalizing EQing guitars: Do a low-cut at around Hz, because all frequencies below Hz belong to either the electric bass or the kick-drum but not to the guitar.
There are often some resonance frequencies between Hz and Hz, so find these by sweeping through these frequencies while reducing them between 5dB to 8dB. Always use the highest Q-factor possible during this entire process. Take a look at the frequency spectrum between 2. If so, then sweep through the frequency spectrum again and reduce this frequency generously. Often a smooth boost with a high-shelf at around 4kHz will brighten up the sound. Finding the right frequencies requires experience or the trial and error method which leads to experience anyway.
Listen to Example 2: the first version is without any equalization, the second version has every track equalized. For music genres like rock or metal the function of reverb is to emulate the environment of the recording studio as well as the instruments being played in that studio. Although there are no rules on how to use reverb, here are some points to think about: Reverb normally is used as a send effect, not as an insert effect. There are three things that define a space or room: the direct signal, early reflections ER and the tail, and all of them are equally important.
Reverb glues together different guitar tracks or sounds in general. To find the appropriate length for the tail, just follow this guideline: the faster the song the shorter the tail. By using reverb you can create a sonic foreground, middle, and background; rock guitars normally play in the middle of a mix, behind the vocals or the solo guitar but in front of the drums; I suggest playing with the arrival time and the amount of early reflections ER in order to position the guitars properly.
By the way: still a good investment! Go do it! Anyhow, previous research and my own experiments led me to write Getting the Best Bang for Your Byte seven years ago. I concluded that nobody could really hear the difference between a raw CD track and an MP3 using a decent encoder at a variable bit rate averaging around kbps.
Any bit rate higher than that was just wasting space on your device and your bandwidth for no rational reason. So-called "high resolution audio" was recently thoroughly debunked for very similar reasons. Articles last month revealed that musician Neil Young and Apple's Steve Jobs discussed offering digital music downloads of 'uncompromised studio quality'.
Much of the press and user commentary was particularly enthusiastic about the prospect of uncompressed 24 bit kHz downloads. Young's group several months ago. There are a few real problems with the audio quality and 'experience' of digitally distributed music today. The authors of LAME must have agreed with me, because the typical, standard, recommended, default way of encoding any old audio input to MP3 … lame --preset standard "cd-track-raw.
Going down one level to the "medium" preset produces nearly exactly kbps average, my recommendation on the nose.
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