I spent a quick 30-40 min with those raw tracks just to get a feel for what people were up against when they were mixing. Even though I didn’t enter a mix, spending a half hour experimenting with it made it a lot easier to follow the conversations.
Are you talking about that AC 30 riff on the intro? My first step…I immediately deleted the redundant side of that track. I can’t remember if the amp sim was committed to the track or not, but if it wasn’t I would have put the Scuffham Vox on there. Then I remember sending it to the Eventide Blackhole. Then I muted that, sent it to a UAD Lexicon 224, muted that, then tried one more signal chain hitting the guitar with a de-esser and then feeding the guitar into the Bricasti.
If I was going to build this into a mix for the competition, I would have probably started by choosing the best reverb possible and then worried about the widening from there. I wouldn’t widen that guitar unless I had to, and if I did have to, I would manage the widening with the verb accounted for. I would probably have tried to widen the time based effects on the guitar before doubling the guitar itself.
Mike, if you wanna talk about width on that guitar on Wasteland, here’s some other thing you may want to chew on… one of the first things I noticed was @Cristina mentioned the AC30. If I recall correctly it came from her outboard Avid guitar simulator. One thing I’ve been learning is that when an artist pays a compliment like that to her own rough mix, I take it very seriously. One of the immediate problems in that guitar track was some strings in some notes poking out more than others. If I was doing a full blown competition mix on this (and if I wanted to achieve width at the source instead of via the processing) I probably would have set up both of my Vox AC15’s and re-amped her guitar through both amp’s Top Boost channels in stereo, because the tubes in the preamp stage of the AC15 would help manage those rogue notes and even out the riff. Also, that guitar re-amped in stereo and mic’d with some well placed SDC’s in an XY config would probably give one hell of a track to work with. If you don’t have 2 amps, the next best thing is probably to use one amp with 2 different cabs, then use a room mic on them in stereo. Ultimately what I would be after is the natural width the room itself and stereo mic combo would create.