Thread Wall of guitars!!
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Bones-
Ah, I'm kind of an old school guy, so I tend to reference the pan thing to knob positions on a mixer. A typical pan knob on a mixer goes from about 7 oclock to 5 oclock, with 7 being hard left, 5 being hard right, and 12 oclock being up the middle. Most digital units use 128 bits, with 0 (or 1, depending on their numbering convention)being hard left, 0 being up the middle, and 128 (or 127 if they started with 0) being hard right. You can figure it out from there, huh?
The effects thing- I use this trick mostly with delay, but it works with chorus and pitch shift or detune as well. Try this-
Take a dry guitar track. Clone it to a second track. Now you have two identical guitar tracks. Put a simple delay on the second track. Set the delay real short (like 100ms or so), set the feedback (or number of repeats) for half a second or so. Set the delay output 100% "wet" so that all you hear is the delay and none of the undelayed signal gets through. Then, take the original track of the dry guitar, pan it to about 9 oclock on the left, then take the second track where all you hear is the delayed signal, and pan it to 1 or 2 oclock on the right. Set the fader on the delay track a good 5-7 db or so lower than the dry track on the left so it's just a ghost and doesn't interfere too much with the dry track.
Viola, you have just split the effects off the main signal, and in doing so gave your dry guitar track a lot of depth. Now you can play around with other effects or combinations. Chorus the dry side a little. Add a skosh of the original undelayed signal back in on the right. Try it with a couple of cents of pitch shift instead of delay. If you listen closely to the first Led Zepplin album on a pair of decent headphones, you wil hear all kinds of interesting things going on with the mix....... 8)
You can hear me using this technique a lot in the Blues CD cuts in the URL at the bottom of my sig.
Ah, I'm kind of an old school guy, so I tend to reference the pan thing to knob positions on a mixer. A typical pan knob on a mixer goes from about 7 oclock to 5 oclock, with 7 being hard left, 5 being hard right, and 12 oclock being up the middle. Most digital units use 128 bits, with 0 (or 1, depending on their numbering convention)being hard left, 0 being up the middle, and 128 (or 127 if they started with 0) being hard right. You can figure it out from there, huh?
The effects thing- I use this trick mostly with delay, but it works with chorus and pitch shift or detune as well. Try this-
Take a dry guitar track. Clone it to a second track. Now you have two identical guitar tracks. Put a simple delay on the second track. Set the delay real short (like 100ms or so), set the feedback (or number of repeats) for half a second or so. Set the delay output 100% "wet" so that all you hear is the delay and none of the undelayed signal gets through. Then, take the original track of the dry guitar, pan it to about 9 oclock on the left, then take the second track where all you hear is the delayed signal, and pan it to 1 or 2 oclock on the right. Set the fader on the delay track a good 5-7 db or so lower than the dry track on the left so it's just a ghost and doesn't interfere too much with the dry track.
Viola, you have just split the effects off the main signal, and in doing so gave your dry guitar track a lot of depth. Now you can play around with other effects or combinations. Chorus the dry side a little. Add a skosh of the original undelayed signal back in on the right. Try it with a couple of cents of pitch shift instead of delay. If you listen closely to the first Led Zepplin album on a pair of decent headphones, you wil hear all kinds of interesting things going on with the mix....... 8)
You can hear me using this technique a lot in the Blues CD cuts in the URL at the bottom of my sig.
The Axeman (##(===> Cuts From My New Blues CD
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