symphony of destruction isolated guitar

Also not a big fan but the lesson here is boost that volume for your solos....incase you didn't already know
 
This isolated tracks from the master tapes? Is this supposed to be Marty's rhythm tracks or something? The guitar sound just doesn't sound like what I hear on the record. Sounds like its very off in the distance with alot of extra reverb. Doesn't sound like Mustaines rhythm playing; a little sloppy.
 
KentC said:
This isolated tracks from the master tapes? Is this supposed to be Marty's rhythm tracks or something? The guitar sound just doesn't sound like what I hear on the record. Sounds like its very off in the distance with alot of extra reverb. Doesn't sound like Mustaines rhythm playing; a little sloppy.
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Yes and yes.

Here is my take on it. Simply put - it sounds a lot tighter with the drums. When this album came out I really started to get an appreciation for that syncopated guitar riff to drummer thing. They did it very well on this album. That said, I always heard a slight looseness to the riffing that when added with drum, gave it sort of a ying-yang catching up kind of feel. Not sure if I explained that right or if anyone else would agree. And yeah it has a cave type reverb thing which I think is killer.

Also, in the YT notes on this it pretty much clarified for me that it is mostly Marty with Dave probably playing in harmony to a lot of it. So both.
 
I absolutely love the advent of the isolated guitar track for this very reason. This is a phenomenal track and a real eye opener when compared with the finished full-band mix. I’ve been at this quite a while, and I’m sure anyone in my age group has seen the trend toward guitar amplifiers with progressively more gain and more, deeper, tighter bass. The gear buying ‘market’ wanted to hear (in their bedrooms) that deep, tight ‘thump’ and ‘punch’ that they were hearing on their favorite albums - which was/is largely the result of a guitarist who knows how to lock in with the kick drum and bass guitar. Go back to that Sykes Still of the Night iso track which was posted here in the last couple fo days: killer, killer track - but not as much gain as you think you are hearing in the final mix and a LOT more mids, upper mids and highs than any bedroom-shredder would ever dial into their warm, cozy shred tone. Dry, tight, articulate - ‘intimidating to play‘ guitar tones translate extremely well in a full band mix, whether live or studio. Drop-Z Thump Tonez sound like a train wreck with a kick drum and bass guitar fighting for precious space in the basement register.
 
KentC said:
This isolated tracks from the master tapes? Is this supposed to be Marty's rhythm tracks or something? The guitar sound just doesn't sound like what I hear on the record. Sounds like its very off in the distance with alot of extra reverb. Doesn't sound like Mustaines rhythm playing; a little sloppy.
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These are the real tracks yes, these have been around for awhile.

no one mentions the coolest part and my favorite about these tracks: you can hear the metronome playing in the background. It’s so low on those tracks you don’t hear it on the record obviously, but , it’s there :) pretty cool to me.
 
VESmedic said:
These are the real tracks yes, these have been around for awhile.

no one mentions the coolest part and my favorite about these tracks: you can hear the metronome playing in the background. It’s so low on those tracks you don’t hear it on the record obviously, but , it’s there :) pretty cool to me.
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There’s a whole subreddit dedicated to stuff like that, r/Productionglitches. It’s fun hearing shit like that. In AIC’s “Man In The Box” you hear Layne clearing his throat and grunting in between lines. One of my buddies went to Berklee for audio production/engineering, they had some James Browne masters in one of the classes, you hear him stomping the shit out of the floor in his vocal track. When all those isolated tracks went up originally I spent days just diving through everything I could.
 
PDC said:
I absolutely love the advent of the isolated guitar track for this very reason. This is a phenomenal track and a real eye opener when compared with the finished full-band mix. I’ve been at this quite a while, and I’m sure anyone in my age group has seen the trend toward guitar amplifiers with progressively more gain and more, deeper, tighter bass. The gear buying ‘market’ wanted to hear (in their bedrooms) that deep, tight ‘thump’ and ‘punch’ that they were hearing on their favorite albums - which was/is largely the result of a guitarist who knows how to lock in with the kick drum and bass guitar. Go back to that Sykes Still of the Night iso track which was posted here in the last couple fo days: killer, killer track - but not as much gain as you think you are hearing in the final mix and a LOT more mids, upper mids and highs than any bedroom-shredder would ever dial into their warm, cozy shred tone. Dry, tight, articulate - ‘intimidating to play‘ guitar tones translate extremely well in a full band mix, whether live or studio. Drop-Z Thump Tonez sound like a train wreck with a kick drum and bass guitar fighting for precious space in the basement register.
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This x100. They’ve been so helpful in figuring out tones for my own recordings. It’s like looking under the hood and seeing how it all works. The vocal isolations have been just as helpful, for production and figuring out how many layers are going on or how harmonies are made.

I bring this up frequently on forums and when talking recording guitar in general, but most of these tones we know and love are merely one part of the structure and by themself, can sound like shit. Listen to how abrasive those F#’s are in this track! I always use The Black Album’s guitar isolations as a perfect example of how an album that sounds fucking huge but has rather thin sounding guitars. There’s practically no low-end in those guitar tracks!



AIC’s “Them Bones” is a good one to hear how they layered different tones to get Jerry’s tone. I remember Jerry saying they generally did 3 tracks on this album, one high gain, one dialed back a bit and one almost clean, you can hear that cleaner one barely mixed in there. Sound is crushing!

 
RevDrucifer said:
This x100. They’ve been so helpful in figuring out tones for my own recordings. It’s like looking under the hood and seeing how it all works. The vocal isolations have been just as helpful, for production and figuring out how many layers are going on or how harmonies are made.

I bring this up frequently on forums and when talking recording guitar in general, but most of these tones we know and love are merely one part of the structure and by themself, can sound like shit. Listen to how abrasive those F#’s are in this track! I always use The Black Album’s guitar isolations as a perfect example of how an album that sounds fucking huge but has rather thin sounding guitars. There’s practically no low-end in those guitar tracks!



AIC’s “Them Bones” is a good one to hear how they layered different tones to get Jerry’s tone. I remember Jerry saying they generally did 3 tracks on this album, one high gain, one dialed back a bit and one almost clean, you can hear that cleaner one barely mixed in there. Sound is crushing!

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Man I definitely wouldn’t call that no low end on sad but true personally, not even close. If you read the most accurate info about the tracking of this, they did however high pass at 100hz on the guitars, and then did a pump on the aphex EQ in the loop around 4 db at 120hz. But this is why I always say high passing super high is absolutely not needed, no reason to go with arbitrary numbers, especially up to 100hz, it’s just too high. Sure it sounds good on the black album, but that’s not justification that it’s necessary, or that’s the cause of the album sounding good ( obviously). The production on this is very much “the sum of all the parts” making it sound the way it does.
 
I love it. This is what real people playing guitar sounds like without 100 edits and splices in pro tools. It always sounds looser when you listen to it isolated. I think it is a good lesson for anyone recording. Don't beat yourself up over the smallest time shifts because all together, it will sound like something.

As for Marty's solo, I think it is incredible. His attack, his timing, his phrasing. The guy is so unique and he was on fire during this era. You can hear him digging in in spots and can just about see that face he makes when he closes his eyes and does one of those exotic bends.
 
RevDrucifer said:
This x100. They’ve been so helpful in figuring out tones for my own recordings. It’s like looking under the hood and seeing how it all works. The vocal isolations have been just as helpful, for production and figuring out how many layers are going on or how harmonies are made.

I bring this up frequently on forums and when talking recording guitar in general, but most of these tones we know and love are merely one part of the structure and by themself, can sound like shit. Listen to how abrasive those F#’s are in this track! I always use The Black Album’s guitar isolations as a perfect example of how an album that sounds fucking huge but has rather thin sounding guitars. There’s practically no low-end in those guitar tracks!



AIC’s “Them Bones” is a good one to hear how they layered different tones to get Jerry’s tone. I remember Jerry saying they generally did 3 tracks on this album, one high gain, one dialed back a bit and one almost clean, you can hear that cleaner one barely mixed in there. Sound is crushing!

Click to expand...

Holy shit that AIC tone is unbelievable. The clean tone mixed in is genius. You can really hear it in there and I bet if taken away would have a larger impact than expected.
 
Kapo_Polenton said:
Holy shit that AIC tone is unbelievable. The clean tone mixed in is genius. You can really hear it in there and I bet if taken away would have a larger impact than expected.
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I just got a pair of Beyerdynamic DT 990’s the other day, after I posted in this thread I just sat on my couch and spaced out listening to every AIC guitar only vid I could find. Man, some of the tones are so unexpected, I never would have thought the lead sound in “Them Bones” was as hairy as it is. When it got to the newer albums....Goddamn. Listen to this!

 
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