Secrets To Recording Wicked Rhythm Guitars

Rob Gravelle outlines all of the factors that will help you to achieve PRO quality guitar rhythm tracks on your recordings.

Have you ever noticed that very few guitar players are equally adept at both rhythm and leads? A lot of gifted shredders lay down rhythm tracks that sound like leads, while the best rhythm guitarists' leads sound a lot like rhythms. Obviously both require very different skill sets. Perhaps that goes a long way toward explaining why a lot of bands who play guitar-oriented music, like metal, have two guitar players: one who is good at rhythms; the other, solos. Even jack-of-all-trades players tend to gravitate more to one than the other. I've always been into solos myself. While I have a history of being the sole guitar player in bands, more often than not, the solos are where I put the vast majority of my efforts. The result was rhythms that were not as strong as they could be. Luckily for me, I got the opportunity to work with one of the best rhythm players in metal, when I collaborated on the Knightfall CD with the Annihilator mainman, Jeff Waters. He explained to me exactly what makes for superlative rhythm tracks, and believe me, there's a lot more to it that you probably ever imagined! Today, I'm going to share with you what I learned from a bonafide master. 1. Impeccable Timing: This is probably the first thing that comes to mind when you think about rhythm tracking. Ever since Les Paul invented multi-tracking some fifty plus years ago, the ability to overdub tracks has elevated the importance of being able to play tightly to a click. That seems like a no brainer, but all too often, people belittle the true amount of work and effort that's required to be able to play tightly. I used to play a song to a metronome a couple of times before recording and thought to myself that it sounded great. Had I actually recorded my playing and listened back to it, I would have seen just how uneven my parts were! Contrast that to Mr. Waters' obsession of playing everything to a click, including picking and scale exercises. In fact, his motto is: "if you don't practice to a click, then it doesn't count as practice." 2. Clearly Accentuated Picking: Listen closely to any great player's tracks and you'll instantly notice how well how clearly defined every note is. These guys/gals have spent countless hours honing their picking technique until it runs like a well oiled machine. When they play a passage, they don't just concentrate on hitting the notes on time, they are thinking about making each note sound even and well defined. It's like speaking. Wouldn't you rather listen to somewhat who clearly enunciates each syllable, than someone who slurs them together like a sloppy drunk? These players have put a lot of thought into the gauge and material of their picks as both make a lot of difference to your sound. Moreover, they tend to strike the strings at the optimal depth and at an angle that is as flush with the string as possible. Angling the pick a bit might make it easer to pass through the string, but it doesn't sound as good. 3. String Muting: Just as proper accentuating of each note is essential to great rhythm tracks, it is equally critical to mute all unwanted string noise from one's playing. Don't count on drums hiding minor string noise. It'll still be there to some degree, if only on some subliminal level. To the average guitar player, suppressing string noise falls somewhere after timing, which comes after hitting the right notes, on the priorities list. While in a live situation, you can certainly get away with some string noise, it won't fly on recordings. Especially when dealing with high gain settings, control over feedback on string noise is a prerequisite. Therefore, you have to train yourself to listen for it. Common offenders are the fretting hand when switching between chords. The picking hand can also be at fault when your palm doesn't come down between notes, misses one of the strings, or simply rubs against them while picking. All of these are flaws in technique than need to be worked on. If you can't eliminate string noise when playing a part, then try changing it. There are a lot of ways to play the same thing on a guitar, so don't get stuck on only one way. 4. Tuning and Pitch: Guitarists take it for granted that you have to tune your instrument before recording, but I am constantly shocked at just how nonchalant most people are about tuning. It's not until they are faced with a professional engineer that they realize what's actually involved in recording a pro-level CD. Not that, when I say professional engineer, I mean someone who has experience in recording CDs for major labels. Even in home recording situations, musicians always show up with a low end tuner. While those are fine for jamming and playing small bars, they are not adequate for any recording purposes. Strangely enough, even a lot of supposedly pro quality gear has very minimal tuning capabilities. For recording, you need something that will go well within 2% deviation, which is where most people can detect out-of-tuneness. For that, you need something like a Korg rack tuner. All you need is about $250 to shell out! If you want to go really precise, nothing beats a strobe tuner. Some of which can go as high as five to six thousand dollars! Thanks to the magic of digital recording, you don't need to spend very much money at all to achieve pitch perfect tuning. Peterson, who makes the best strobe tuners in the biz, also makes a software version of their coveted strobe tuners called Strobosoft. It can get to 0.1% precision. That's up to 30 times better than the average tuner. It's what I use. Unfortunately, using a high-precision tuner is not enough to achieve excellent pitch in your recordings. Alas, the guitar is a very temperamental beast and reacts to its surroundings. Not only does the temperature and humidity of the room wreak havoc on the pitch, but even your fingers can throw off the pitch by a couple of percents, which is enough to go from extremely in tune to noticeably out of tune! I'll never forget how, in my early days of club playing, I would tune my guitar backstage (or in the bathroom, depending on the conditions), only to have it go way out of tune by the end of the first song! I eventually came to realize that the difference in temperature was making the guitar go flat. At that point I started leaving the guitar on stage and then tuning it shortly before show time so that it would have time to acclimatize to the environment. I would warm up on a second guitar, backstage. The best way to have your guitar stay in tune while you do your tracking is to begin by warming up the strings using you fingers. Play something or simply rub the strings with your hands. Once you've warmed up the strings, give each one of them a good pull. And I mean a good pull, almost hard enough that you try to break them! This is a crucial and necessary step as it will remove any stretching capacity that is left in the strings (you are using brand new strings right?) and helps wrap it as tightly as possible around the tuning peg. The idea is that the string won't have any room left to fall. Even when you think that the string is taught and ready, a few good pulls will loosen it - and the pitch - way down! Keep doing this until pulling the string no longer has any effect on the pitch. Now, the enemy is sharpness. Every time that you stop to listen to your takes, the strings immediately start to get cold. And that means re-warming and retuning them. You may be surprised to learn that in a professional recording session, guitar players spend more time tuning that playing their tracks! That's one of the reasons that you have to be such a good player to record CDs. You have to be skilled enough to lay down high quality takes within a couple of minutes, which is about as long as you can go without a tuning break. Because of the volatility of strings, it behooves you to become very quick at tuning. The faster the better! 5. Good Sound: Your sound has to bring out your ideas and expression, not hamper them. Too many guitar players use distortion as a crutch in an effort to hide weakness in technique. Have I done it? Duh yeah! Listen carefully to any great guitarist and you'll notice that their tone enhances everything that they are doing. It's no accident. They work hard on it. Even when you think that an artist is using lots of distortion, it is really their playing that is making the sound through aggressive playing (more on that in a moment). Universally, enhancing one's expression means turning down the gain and bringing out the subtleties in one's playing. Just be aware that this also makes it easier to hear weaknesses in technique! 6. Play Like You Mean It! Closely related to number five above, great players don't play a part like the average person. While the latter simply plays a passage, a true guitar expert will express it. And the way that he/she does that is to play every note with conviction. Most of us tend to concentrate on key notes - the ones that represent the main chord movements or lock in with other instruments. As a result, a lot of less important notes, like passing tones, and so on, will receive less attention, and suffer for it. This issue goes a lot deeper than focusing on all of the notes and picking harder. The purpose of music is to express yourself, so when you doubt yourself and are unsure of what you're playing, it will come out. Only by learning to entertain positive thoughts about yourself and realizing that you have just as much right as anyone to be on a stage in the studio, can you bring out your full potential in your playing. I'm not saying that great artists don't have issues, because they clearly do, but their playing is not one of them! Knowing what makes a great rhythm player, or just a great player period, is not sufficient for achieving greatness. That takes dedication, sacrifice, and the ability to accurately gauge your playing. Neither blindly adhering to the belief that you are a great player or a lousy one will advance your cause. Ironically, some of what it takes to be a great guitar player has very little to do with guitar playing per se. But don't take that as an invitation to go on a self expanding voyage. You still need to focus a whole lot on guitar! Rob recently embarked on a solo music career, after playing with Ivory Knight since 2000. That band was rated as one Canada's top bands by Brave Words magazine (issue #92) and released two CDs. In 2007, Rob recorded the KNIGHTFALL CD in collaboration with the former Ivory Knight vocalist and legendary guitarist/producer, Jeff Waters of Annihilator fame. iTunes link.

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    Nice dude! Thanks a lot! I'm gonna be doing some recording myself today and this is going to help. GarageBand FTW!
    TheGreifer wrote: AxeHappy wrote: I like how you mentioned the Strobe Tuners. Those Korg Rack mount tuners are actually no more accurate than the $20 Ibanez tuners. But they sure look real pretty. That couldn't be further from the truth.
    Hmmm, well according to Korg this: Cheap tuner has 1 +-1 cent tuning accuracy And according to Musician's Friend this: tail.jsp?entProductId=210514 DT2000 has a +-1 cent tuning accuracy. But believe what you will.
    Romper Stomper
    I would never spend that much on a tuner. That being said, I always tune up before playing.....
    people are pretty non chalant about tuning because when it comes down to "i have x amount of money and i need _____," that blank is never a tuner when the cheap tuner your using is good enough.
    This is pretty relevant to me since I'm finally started to get into recording. All I need is a good studio in my basement and I'll be good to go...
    I thought this was going to be stuff about mic placement and which mics to use and how to not have your rhythm guitar tracks sound like those on Opeth's first album, Orchid.
    AxeHappy wrote: I like how you mentioned the Strobe Tuners. Those Korg Rack mount tuners are actually no more accurate than the $20 Ibanez tuners. But they sure look real pretty.
    That couldn't be further from the truth.
    I like how you mentioned the Strobe Tuners. Those Korg Rack mount tuners are actually no more accurate than the $20 Ibanez tuners. But they sure look real pretty. The rest of this is solid gold. Common sense, but solid gold!
    SilverSpurs616 wrote: All that stuff about tuning is rather intimidating..
    It sounds intimidating, but it's just a matter of getting into the habit. At jazz concerts I have my guitar routed through a strobe tuner and between songs I turn off the guitar and re tune. It's especially helpful doing it where you're playing because then you don't need to worry about the changes in temperature and humidity.
    Excellent post, but I would like to add a few things that I noticed in my years playing Rhythm. I've never been able to play lead well, so I stuck with what I know (more than 20 years later, I'm still trying to get my fingers fast enough for solo's...hehe). Anyway, to continue... You mentioned that sometimes your pick and angle of attack can change the way your sound is. I think rhythm guitarist need to remember that while, some angles of attack are more appropriate than others it really depends on the situation, tempo, song, style, and much more. I don't want to make things complicated for my fellow rhythm players, but try everything, upstrokes and downstrokes DO sound different. Different Picks (size, thickness) should be appropriate to the player's preference, not the sound. Try them ALL! Do not limit yourselves, try tortex, flat and shiney plastics. I have even used metal picks (be warey that have ways of making strings dead fast). Lots of ways to play different things: Example, A on the open 5th string and A on the 5th Fret of the E string. Very correct here, and by figuring out where to place your hand, not only will you eliminate a lot of the noise of your moving frethand, you will also increase your transition speed. Keep in mind; Octaves. The twelfth fret of each string is the upper octave of the root note. Experiment. Tuning: I don't play shows, or record professional level recordings, but as a teacher I'm a huge stickler for tuning. I can hear even the most off note and it can drive me completely batty. Few guitarist might use this as a method to tune their guitar: tune to your favorite band (or whatever). Yes guitar tuners are a method, most are accurate but will not train a new guitarist's ear, which needs to be developed. After tuning the first string or tune, use your ear to tune the rest. By using a tuner exclusively, guitarists will miss an essential skill that must be trained. Can any guitarist hum an 'A' and tune to it? Few can. Tuning Forks, btw, are the most accurate and most likely to train the ear to 'remember' the key over time. How many new guitarists can individually pick out EVERY instrument in a song while it's being played? String Stretching. I do this only when I put new strings on the guitar, but it doesn't hurt to help 'heat' the strings. For myself, I only pull the strings by squeezing the first and forth string together, then the second and fifth then the third and sixth strings. I squeeze them over the neck pickup and then work up the neck, stopping around the 7th fret. I've broken strings by pulling on them too hard (bummer when it happens right after restringing), by doing this, I've limited the strain on the strings but stretched them along the entire length. I NEVER need to retune my guitar unless I move it from one location to another (temperature changes more than just the strings, but also the wood). Play it like you mean it! Hell ya! Each note should be at the same volume and strength. I found that one of my favorite guitarist ever was Daimond Darrel (RIP brother), he was one of those fella's that did not use a rhythm guitarist in Pantera. His rhythm was excellent, and his solos were distictly melodic (almost rhythmic, hehe). Still, my absolute favorite guitarist of all time is Jeff Waters himself (meeting that fella would be a great honour). I think one thing was missing here, telling your fellow Rhythm guitarists to have fun, headbang like you mean it (btw, that has a way of helping someone keep time, like tapping a foot). I lost a student who constantly berated herself saying things like "Oh, I can't do this, it's hard...". Anyone can learn, but it does take dedication, but putting oneself down will not help. I did try to build her confidence, but I don't think she quite realized the level of dedication she needed and simply stopped coming to her lessons. Start slow and work up to speed. Do not limit yourself to one particular branch of music when learning. I might listen only to Metal, but I play along to blues, rock, glam, anything I find a good beat to. You like some rhythm sound in a song - learn it. You don't have to learn the whole song (though it helps). Just because I could not play a good strong solo (and one day I might still) doesn't mean I'm limited, and did not prevent me from continuing to play along to my favorite music for the last 20 years (or teach for that matter). Peace!