Recording Double Tracked Guitars

Double tracking records the same guitar part twice, creating two separate performances that pan left and right in the stereo field. This technique produces the wide, massive guitar sound heard on countless rock and pop recordings, transforming a single guitar into a wall of sound.

The Double Tracking Concept

True double tracking requires playing the part twice rather than duplicating the recording. The slight timing and pitch variations between performances create phase differences that generate width and thickness when panned apart.

Simply duplicating a track and panning the copies creates no width since identical waveforms occupy the same sonic space. The natural human inconsistencies between performances make double tracking effective.

These inconsistencies must remain subtle enough that the parts sound unified while being different enough to create stereo separation. Performances that are too tight sound like a single guitar, while excessively sloppy playing sounds like two distinct parts rather than one massive sound.

Performance Considerations

Consistent timing between takes serves as the foundation of effective doubles. Players should follow the original performance closely while accepting natural variation. Using the first take as a headphone reference while recording the second guides timing decisions.

Pick attack and dynamics require attention across both takes. Significant differences in how notes begin or the relative loudness of specific notes creates an uneven, unglued sound. Matching the energy and approach of the original performance produces cohesive doubles.

String noise and incidental sounds need matching as well. Fret squeaks, pick scrapes, and slide sounds that appear in one take but not the other draw attention to the doubling effect in unintended ways.

Tonal Matching and Variation

Identical tones for both takes can work, but slight variations often produce more interesting results. Changing pickup selections, adjusting tone controls, or using different guitars creates complementary textures that combine into something larger than either alone.

Amplifier settings might vary between takes, with one track slightly brighter or with more midrange than the other. These differences create space for each take in the frequency spectrum.

Some producers deliberately use different guitars or amplifiers for each side, creating dramatic stereo contrast. A Les Paul panned left and a Telecaster panned right, playing the same part, produces distinctive results different from identical signals.

Recording Workflow

Recording the rhythm track first establishes the timing reference. Listening to this take through headphones while recording the double guides the performance naturally.

Some engineers prefer recording both takes simultaneously with two amplifiers and microphone setups. This captures the natural feel of playing a part once rather than recreating it, though it limits the ability to adjust one side independently.

Multiple double attempts may be necessary. If the second take doesn’t lock adequately with the first, recording additional versions allows selecting the tightest combination.

Mixing Double Tracks

Standard panning places the two takes hard left and hard right, creating maximum width. Less extreme panning at 60-70% left and right leaves space for other stereo elements while maintaining substantial width.

Level matching ensures neither side dominates. A perfectly balanced double creates a phantom center image that sits between the speakers. Intentional imbalance shifts the apparent position.

Processing the tracks identically reinforces their connection. Similar compression and EQ treatment maintains the impression of a single massive guitar rather than two separate instruments.

Quad Tracking and Beyond

Adding additional takes expands the concept. Quad tracking places four performances across the stereo field, typically two takes panned hard and two panned moderately. This creates even thicker textures for heavier genres.

Diminishing returns apply as track count increases. Each additional take contributes less than the previous one while adding potential for timing slop and frequency masking. Most productions find optimal thickness with two to four takes.

Combining double tracked rhythms with a centered single guitar provides contrast. Verses might use a single centered guitar while choruses explode into doubled wideness, creating dynamic arrangement.