Double Guitar tracks are a staple in music production, adding richness, depth, and a wider stereo image to guitar parts. This technique, traditionally achieved by recording the same part twice, creates a fuller and more powerful sound that is highly sought after in genres ranging from rock and metal to pop and beyond. While the classic method involves meticulous studio recording, guitarists are always seeking ways to replicate this effect in live performances and practice settings. This article explores various methods to achieve a “double guitar” sound, focusing on practical techniques for guitarists using modern effects processors.
Understanding the Double Guitar Effect
The magic of double tracking comes from subtle variations between two performances of the same part. These slight differences in timing, dynamics, and even tone, when combined, create a chorus-like thickening effect without the artificial swirl of a typical chorus pedal. This results in a sound that is both expansive and organic, making the guitar seem larger than life in the mix. For solo guitarists or those in smaller bands, achieving this full sound can be crucial to filling out the sonic landscape.
Methods to Achieve Double Guitar Sound
There are several approaches to simulate or create a double guitar sound, each with its own nuances and level of authenticity. Let’s delve into a few popular methods:
1. Enhancer Block (Stereo Widening – Not True Double Track)
Many modern multi-effects units offer enhancer or stereo widening effects. These processors manipulate the stereo field, often by adding subtle phase or frequency variations to the left and right channels. While this technique can create a perception of width and spaciousness, emulating the stereo spread of two guitars, it’s important to understand that it is not a true double track. It’s a sonic illusion, effectively widening your existing guitar signal but not introducing the organic variations of a second performance. This method is simple to implement and can be effective for adding dimension, but lacks the depth of genuine double tracking.
2. Dual Delay Trick (Simulated Double Track)
A more sophisticated method to simulate a double track involves using a dual delay. By setting up two parallel delay lines with extremely short delay times – typically in the range of 0.40 to 0.60 milliseconds – and panning them hard left and right, you can create a convincing double-tracked effect. The key is to keep the delay times very short and slightly different between the two channels to mimic the minute timing discrepancies between two separate performances. Set the delay mix to 100% wet (no dry signal), level at 0dB, and feedback to zero. Pan one delay line fully left and the other fully right. Then, pan your dry guitar signal to the opposite side of either the left or right delay. This creates a subtle offset in time between your direct signal and the delayed signals, simulating the staggered timing of two guitars playing in unison. While still not a true double track, this method comes closer to capturing the essence of the effect than a simple enhancer. Experiment with slight variations in delay time to fine-tune the tightness or looseness of the simulated double track.
3. Looper for True Double Tracking (Live Performance)
For a truly authentic double-tracked sound in a live setting, the most effective method is to utilize a looper pedal or the looper function within a multi-effects processor like Axe-Fx (as mentioned in the original article). This technique allows you to record a guitar part in real-time and then play along with the looped playback, effectively creating a genuine double track.
Here’s how to implement this using a looper:
- Record a Loop: Play and record your desired guitar riff or part using the looper.
- Panning Setup: Assign your looper’s output to either the full left or right channel using a controller (like an IA switch, expression pedal, or scene controller). Simultaneously, pan your direct (dry) guitar signal to the opposite channel using a volume or panning block in your signal chain. An expression pedal can be particularly useful for smoothly controlling the panning of the looper for dynamic effects.
- Play Along: Engage the controller to activate the panning setup and play the same riff or part live, in sync with the looped playback.
By panning the looped part to one side and your live playing to the other, you achieve a true stereo double-tracked sound. For optimal results, place the looper at the end of your effects chain and in parallel, ensuring a 100% mix and adjusting the level to your preference. Position a volume block at the end of your main signal path to manage the level of your direct guitar signal in relation to the loop.
This method, while requiring an initial recording step, offers the most genuine double-tracked sound for live performances, as it involves playing two distinct guitar performances. It transforms a mono signal into a stereo double-tracked output.
Considerations for Live Performance and Precision
The looper method, while delivering the most authentic double track, does require some setup and a slight delay to record the initial loop. This might not be ideal for situations demanding instant double tracking. However, for song sections where you want to create a powerful, wide double guitar sound, the looper technique is unparalleled in live performance.
For players seeking absolute precision and seamless transitions, MIDI program changes can be implemented to automate the panning and looper activation. This level of automation minimizes “tap-dancing” and allows for effortless switching between single and double-tracked sounds during a performance.
Ultimately, experimenting with each of these methods will help you determine which best suits your needs and sonic preferences. While enhancer and dual delay methods offer convenient simulations, the looper technique provides the most genuine and impactful double guitar sound for live and recorded guitar parts. Embrace these techniques to expand your sonic palette and add depth and power to your guitar playing.
