What are some recording techniques that can enhance the sound of distorted guitars and double bass drums in a metal recording?

Recording distorted guitars and double bass drums in metal requires careful techniques to capture their inherent power and impact while ensuring clarity and separation in the mix. The goal is to achieve a sound that is both aggressive and articulate, without becoming muddy or undefined. Various techniques, from microphone placement to processing, can be used to enhance these instruments, making them sound as impactful and dynamic as possible.

For distorted guitars, one of the most crucial techniques is microphone placement. Using multiple microphones on a single cabinet can capture a range of tones that can be blended in the mix. A common technique is to place one microphone close to the speaker cone for a direct and focused sound, and another a bit further back to capture the ambience and fullness of the cabinet. For example, a Shure SM57 placed close to the cone will capture the mid-range attack, while a Sennheiser MD421 placed a few inches back will capture the low-end rumble. These different signals can be blended and EQ'd to create a tone that is both aggressive and clear. Sometimes, two microphones are also placed at different angles and positions on the speaker to capture a different sonic perspective. Another technique to get a full and clear sound is to use a DI box to record a dry signal. The dry signal can be used to reamp the guitar later, which can then be recorded through various different microphones and amplifiers to create different sonic options in the mix.

Another important aspect of recording distorted guitars is the use of layering. Recording multiple takes of the same part and then panning these takes left and right creates a fuller and thicker sound. For example, a rhythm guitar part might be recorded twice and panned hard left and right. This creates a wider and fuller sound than just using one guitar track. Also, multiple guitars may be recorded, all with the same part but with slight variations in tone or tuning. This adds a unique layer to the song, giving it a unique tone and character. It's important to ensure that when layering the guitar tracks, each guitar does not interfere with the tone of the other. Minor differences in tone, and position in the mix, will help each guitar sound more unique.

For double bass drums, microphone placement is equally critical. The kick drums are often miked both inside and outside the drum. An inside microphone will focus on the attack of the kick, while an outside microphone will pick up the lower frequencies and the overall resonance. For instance, a Beta 91A or an Audix D6 placed inside the kick drum will capture the click and attack, while an AKG D112 placed a few inches away from the outer head will pick up the low-end frequencies. These two signals can be blended and EQ'd to create a kick drum sound that has both punch and weight. A common recording practice is to also use a microphone in front of the kit, to capture the whole kit and give the drum sound some more room ambience.

The use of compression is also essential for both distorted guitars and double bass drums. For distorted guitars, compression is often used to even out the dynamics and make them sound more consistent in volume. A compressor can be used on each guitar channel as well as on a group channel. These different compression techniques allow for both control of dynamics, as well as adding density to the track. For the double bass drums, compression is used to control the dynamic range, making each kick drum hit sound more impactful and consistent. A compressor might be used to even out the volume between different kick hits, and also to give each kick drum a more noticeable punch.

Finally, EQ plays a significant role in shaping the final tone of both the guitars and drums. EQ can be used to remove unwanted frequencies, such as muddiness in the low end or harshness in the highs. The EQ can also be used to carve out different parts of the frequency range. This is important for the guitars and drums, as they often use the same frequency range. This can be used to keep each instrument separate from the other. For instance, a low-cut filter on guitars will make room for the bass and drums, and a high-shelf boost on the kick drum will bring out the attack. Careful use of EQ can make all instruments more audible, and help them to sit more cohesively within the mix. These techniques, combined with the appropriate plugins and mixing decisions, enhance the individual parts and help them to work cohesively within the track.