Tips for mixing solo lines

[diego]

It seems to me the strumming parts can be easier mixed even in an "occupied" mix with a lot of instruments, as it can fall behind in the mix and still sound good, "supportive". However, when it comes to solos, it's slightly different, as they really need to come on top of the mix. For example, I like how this guy (appropriately nicknamed: Acoustician) does acoustic solos: https://www.youtube.com/watch?v=79KBzRSHFtQ , even though he's not sparing on the backing track volume, the solos still sit properly in the mix.

The things I tried are (when recording mono, with a single mic), to make a stereo track out of that recording, and then just slightly tweak EQ on the second track, most often a treble boost or bass cut, just so that it differs from the original recording and slightly "emulate" the second mic.

As for compression, I'm not a fan, but found that just a tiny bit of compression works for me, to add sustain to those notes - slow attack, fast release.

With reverb, I found that in most cases "small to medium hall" works best, with reverb time around 2s, and usually quite low wet mix, around 15-30%.

I guess mic position is critical, but do you have some tried and true tricks that worked for you?

[Bob Womack]

Listening to that track, it sounds to me like he's got a limiter on the lead guitar with a fast attack, medium threshold, fast release, high compression ratio, perhaps 20/1. Why? The attacks are at about the same level as the sustain phase. Because it is plucked, guitar has a very fast, very loud attack. That limits how far you can push it up in the mix. Limiting the attack allows a reasonably true representation of the guitar's sound but allows you to push up the instrument to the level at the beginning of its sustain phase.


Bob

[Brent Hahn]

Originally Posted by diego

... do you have some tried and true tricks that worked for you?

Emphasizing the "worked FOR ME," I'm a fan of heavy compression and steep low-pass filtering, sometimes along with fairly ridiculous amounts of narrow midrange boosting. The results aren't very "natural" but I like 'em.

I've got links to examples if you're interested.

[Gordon Currie]

As said already, compression can reduce the peaks so your perception of volume is less dependent on the peaks and more on the average.

I always use parametric midrange EQ to mix guitar on guitar. I like to boost somewhere between 350 and 700 Hz in a pretty narrow range for the solo. It makes one of two similar sounding instruments pop forward nicely.

Often I'll also reduce the chord track at the same frequencies.

(I see Brent posted something similar. I think the judicious use of narrow mid-range EQ is super effective on acoustic guitars in particular, and I highly recommend exploring it.)

[KevWind]

Mixing is a subjective art and the are usually numerous methods to get results
This is what I do.

For me with EQ::
I prefer to high pass filter both tracks but the lead track perhaps a bit higher like maybe , i.e. 80 Hz on the rhythm track and 100 hz on the lead.
I tend to first narrow Q cut on both tracks where they are noticeable boxy/honky sounding, usually around 500 maybe also 250 on the lead track

Then perhaps some a wider Q cut of only 2 - 4 db at different places, maybe
somewhere between 1k -1.5 K on lead and 2.5 - 3.5 on rhythm. Then only if this still has not given enough distinction between the rhythm and lead, perhaps consider a slight boost wider Q in different places on each track.

Reverb ::: get it off the individual guitar tracks and put it on a stereo parallel reverb aux/bus track. Then run it 100% wet and set that verb track fader at -0- db (unity gain)... Send to that track from the different guitar tracks and reduce the individual guitar send levels to get it to get the verb effect you want . Also set about 50 -60 ms of pre delay .... And on that parallel reverb track put a multi-band EQ before the EQ and and High pass everything from 500 - 600 Hz on down, and Low pass it from from 8k to 10 and up

Compression (you used the term to get the solo on top of the mix) But try to think of it (and visualize it in terms of front to back) To my mind in sparse mixes Compression is more to bring an element (like the lead solo) forward in the sound stage and from that frame of mind I listen to when I can hear that happening (I also tend in general , to prefer slow attack and faster release).

And finally (If) I have recorded the lead in mono (which is what I used to do) I quit trying to emulate stereo, now stay mono and simply place it in the middle when no vocal, or just to one side of middle with vocal and in both cases pan the rhythm out L&R
If I record it in stereo (which is what I do mostly now) I simple pan it just L&R of middle (say 25- 30 % R&L ). And then pan the always stereo recorded rhythm out to (say 65-75 R&L)

Anyway thats what works for me

[Picking Moose]

If I wanted the lead/solo guitar (or whatever instrument) to "cut through" I would definitely record it mono and keep it like that.
Stereo single source instruments will most likely loose impact and proximity when recorded/mixed in stereo.
A VCA compressor (or any compressor with fast attack) set to 1-3msec attack and about 100msec release, 4to1 ratio, only 3 or 4db of compression on loudest parts, will tame the peaks only,
allowing the track to be lifted above the rest without hitting the roof (make it louder).
A 2 seconds long reverb might also distance the instrument from the listener. Try 1sec reverb with a 70 or 80ms pre-delay. Perhaps you'll need more than your usual 15-30% but the shorter decay will keep the instrument up-front.
Consider also a low-cut filter placed after the reverb as suggested above (reverb should be on own AUX track for this).

[DukeX]

Originally Posted by diego

...The things I tried are (when recording mono, with a single mic), to make a stereo track out of that recording, and then just slightly tweak EQ on the second track, most often a treble boost or bass cut, just so that it differs from the original recording and slightly "emulate" the second mic...

You might try putting a 30 to 60ms delay on the second track as well to enhance the "doubling" effect.