Molly Ayala
Electric guitars can sound harsh for a variety of reasons, such as an inconsistent player, problematic gear, or poor recording techniques. When mixing a heavily distorted guitar, it can sometimes sound harsh or brittle due to finger sliding, fret noise, or unpleasant harmonics. To reduce harshness in electric guitar production, there are several techniques and tools that can be employed. One common approach is to use a de-esser, which acts as an adaptive equalizer, reducing the amplitude of harsh sounds while preserving the desired tone. Another technique is to use a harmonic exciter plugin, which generates more pleasing upper harmonics based on the reduced frequency response. Proper guitar setup, microphone placement, and blending of multiple microphones can also help mitigate harshness. Additionally, utilizing common plugins in unique ways can address specific problems causing harshness in the guitar mix.
| Characteristics | Values |
|---|---|
| Microphone placement | Experiment with mic placement to reduce harshness. Move the mic off-axis so it's not capturing the cap directly, or move it left or right to get more of the cone in the recording. |
| Microphone type | Use a ribbon mic, which has a flat frequency response, instead of a '57 or condenser mic, which can be too harsh on electric guitars. |
| De-esser | Use a de-esser to reduce harshness. This acts as an adaptive equalizer, turning down harsh parts of the performance while maintaining the desired tone in less harsh parts. |
| EQ | Use an equalizer to find and reduce specific harsh frequencies. Be careful not to overdo it, as this can leave the signal dull and lifeless. |
| Harmonic exciter plugin | Use a harmonic exciter plugin like Waves’ Aphex Vintage Aural Exciter to generate more satisfying upper harmonics. |
| Speaker grille material | Use speaker grille material that filters harsh frequencies, such as the grille cloth in early Marshall cabinets. |
| Guitar setup | Ensure the guitar is set up properly, with the pickup heights adjusted correctly, to avoid inconsistent and choppy tones. |
| Mixing | Cut low-end frequencies below 100 Hz and boost the 150-200 Hz range to add thickness to the guitar sound. Cut the 1-2 kHz range to reduce a tinny or "honky" sound. |
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What You'll Learn
Use a harmonic exciter plugin to generate upper harmonics
Using a harmonic exciter plugin is a great way to generate upper harmonics and reduce harshness in electric guitar production. This method is especially useful if you've had to make significant cuts and are left with a dull sound.
Harmonic exciters, such as Waves' Aphex Vintage Aural Exciter, create new, higher frequency harmonics based on the new, smoother signal. This is in contrast to simply boosting with an EQ, which will increase the gain of selected frequencies, likely bringing you back into the same harsh territory.
There are many harmonic exciter plugins available, such as Hornet Harmonics Pro, which provides powerful tools for adding depth, warmth, and character to any sound. It offers precise tonal sculpting, allowing for subtle enhancement or bold, transformative effects. It also includes saturation and clipping modules inspired by classic analog circuits, giving you dynamic harmonic distortion and control over audio levels.
Another option is Voxengo's Shinechilla plugin, which allows you to generate 2nd, 3rd, and 4th harmonics and blend them with the original dry sound. This can add a pleasant grit and subtle brilliance to your sound, enhancing it without overdoing it.
Exciter plugins can bring out the magic in your tracks, enhancing vocal clarity, tightening the low end, and making your mix sound more alive. They provide a professional-grade effect, reacting to your signal in real-time and shaping harmonics that move with your track.
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Try a de-esser to remove harsh consonants
De-essers are commonly used to remove harsh consonants on vocals, but they are also useful for cleaning up harsh-sounding instruments, such as electric guitars. De-essing is the process of reducing the harsh "s" sounds made in regular speech, known as sibilance. Sibilance also includes other consonants like "c", "t", "z", "f", and "ch". These sounds are formed by passing air through the tongue as it presses against the roof of the mouth and are typically found in the higher end of the frequency spectrum, usually between 2kHz and 10kHz.
De-essers are a type of audio compressor that applies gain reduction to sibilance and other high-frequency issues. They work by targeting and attenuating frequencies associated with sibilant sounds. First, you need to specify the range of frequencies you want to process by selecting the start and end of the range, also known as the bandwidth. Then, you use the threshold feature to determine when you want the de-esser to start attenuating the frequencies. Next, shape the behaviour of the de-esser using the attack and release functions, and finally, set the amount by which you want the frequencies attenuated, known as the reduction or range.
When using a de-esser on an electric guitar, you can use the listen mode to preview the frequencies you'll be reducing to ensure you're targeting the right zone. This is a useful alternative to simply EQing down offending frequencies, which can result in a dull and lifeless signal. De-essers are particularly effective for guitars because they act as adaptive equalizers, turning down the harsh parts while maintaining the desired tone during less harsh sections of the performance.
It's important to note that while de-essers can help reduce harshness, the best approach is to avoid recording harsh sounds in the first place. Additionally, de-essers should be used judiciously to avoid completely removing normal speech sounds like "esses", which can be achieved by applying just enough gain reduction to make the sibilance less harsh.
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Adjust microphone placement to avoid harsher high frequencies
Microphone placement is a crucial aspect of reducing harsher high frequencies when recording electric guitars. The sound emanating from the speaker cone varies significantly depending on the mic's location. The Shure SM57, a dynamic microphone, is a popular choice for recording electric guitars. This microphone exhibits a proximity effect, resulting in a boost in low frequencies as it gets closer to the source. While this effect may be desirable for bass instruments, it can complicate mixing by adding excessive lows to signals that don't require them.
To avoid harsher high frequencies, consider the following microphone placement techniques:
- Maintain a consistent distance from the microphone: Avoid moving the microphone too close to the centre of the speaker, as this can enhance brighter and higher frequencies. Instead, position it slightly off-centre or towards the outside edge, which will result in a darker and bassier sound.
- Experiment with different microphone types: Ribbon microphones, such as the Fat Head 2 or the Royer R-121, are known for their flat frequency response and can help reduce harshness. Additionally, consider microphones with a warmer sound, such as the AKG C451 B, to counterbalance harsher high frequencies.
- Utilise techniques like the "3:1 Rule": This technique involves positioning microphones at a distance that is at least three times the distance from the sound source to the nearest microphone. This helps to reduce phase interference and refine the frequency balance.
- Apply a high pass filter: Use this tool to manage unwanted low frequencies. Start by applying the filter around 80 Hz to 100 Hz and adjust accordingly to suit your specific track and room conditions.
- Angle the microphone towards the neck for brightness: By tilting the microphone slightly towards the neck of the guitar, you can capture brighter and more detailed high-frequency information.
Remember, small adjustments in microphone placement can make a significant difference in the overall sound. Don't be afraid to experiment with different positions and microphone types to achieve the desired balance and reduce harsher high frequencies.
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Cut frequencies below 100 Hz to reduce muddiness
Electric guitars can produce harsh sounds due to various factors, such as the player sliding their fingers across the strings, fret noise, or certain unpleasant notes or harmonics. To reduce harshness in electric guitar production, you can utilise several techniques, including EQ adjustments, microphone selection, and the use of de-essers or harmonic exciters.
One crucial technique to reduce muddiness and harshness in electric guitar production is to cut frequencies below 100 Hz. This is achieved through the use of a high-pass filter, which removes low-end frequencies, allowing the higher frequencies to shine through. By cutting these low frequencies, you can reduce the muddiness and create a clearer, more focused sound.
When cutting frequencies below 100 Hz, it is important to find the right balance. As a general rule, cutting everything below 100 Hz is a good starting point. However, you should adjust this setting until your guitar starts sounding thin, and then back off slightly to retain the desired body and warmth. Acoustic guitars, for instance, may need a little more bass, especially if there is no dedicated bass instrument in the mix.
In addition to cutting frequencies below 100 Hz, you can further refine the sound by making adjustments in the mid and high frequencies. For instance, a slight boost in the lower mids (around 200 Hz to 400 Hz) can add warmth without overpowering the mix. Careful adjustments in the high mids (2 kHz to 4 kHz) can also help balance brightness and avoid harshness.
It is important to note that EQ settings depend on the context of the mix and the desired guitar tone. Experimentation and subtle adjustments are key to finding the perfect sound. Additionally, it is always recommended to EQ in the context of the full mix, as soloed adjustments might not translate well when combined with other instruments.
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Use a dynamic EQ to selectively reduce harshness
Electric guitars can sound harsh due to their frequency range of 3-5 kHz, which is where our ears are most sensitive. To reduce harshness, you can use a dynamic EQ to selectively attenuate these frequencies without compromising the overall tone.
Dynamic EQ is a powerful tool that allows for more precise control over the amplitude of specific frequencies. Unlike a conventional EQ, which reduces frequencies across the entire performance, a dynamic EQ can target only the harsh frequencies, preserving the desired tone during the rest of the performance.
For example, if you want to reduce harshness in certain parts of a distorted electric guitar performance, such as when the player slides their fingers across the strings or when fret noise occurs, a dynamic EQ can be set to detect and attenuate only those specific frequencies. This way, you maintain the desired tone for the rest of the performance.
Additionally, dynamic EQ can be used to reduce conflicting frequencies between vocals and guitars. By using side-chaining, you can set the dynamic EQ to attenuate only the guitar frequencies that overlap with the vocal frequencies, ensuring that the vocal performance remains clear and uncompromised.
When using a dynamic EQ, it is important to understand the frequency range of electric guitars and the impact of different frequencies on the overall tone. Experimentation is also key, as you can preview the frequencies you will be reducing to ensure you are targeting the right zones.
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Frequently asked questions
There are several ways to reduce harshness in electric guitar production. Firstly, you can try using a de-esser, which acts as an adaptive equalizer, turning down the harsh parts of the performance while maintaining the tone of the rest. Secondly, you can try to pinpoint the specific frequencies that sound bad and reduce them using a conventional EQ. Lastly, you can experiment with mic placement by backing it off from the amp to capture more room or moving it off-axis so it doesn't capture the cap directly.
One common issue is the use of certain microphones, such as the '57, which have a frequency range of 3-5k that can sound harsh when paired with electric guitars. Another issue can be an inconsistent player or problematic gear, such as an improperly set-up guitar with inconsistent or choppy tones due to incorrect pickup heights.
You can use a surgical EQ technique to pinpoint the specific frequency or frequencies that are causing issues and subtract them from the guitar. You can also try boosting in the 8 kHz area for some brilliance, especially with acoustic and clean electric guitars. Additionally, you can cut everything below 100 Hz and add thickness in the 150 Hz area, being careful not to pile on the low-mids.
