Guitar tone strategies

Definitely what works best for the song. For me though...I usually use the same amp and alter the tone for rhythm and lead. My rhythm tones have a bit more cut/treble so they cut through. Less gain so that it doesn't sound like a run on sentence when you chug chords.

For lead, I like it a bit more creamy. More mids, less highs, a little more gain for sustain. But everything really depends on the song. You may have a Marshall or a Soldano that sounds great on leads, and a Mesa dual rectum frier for the rhythms...a Randall for rhythms and a Fender with a tube screamer for the leads...it all depends, ya know?

Just remember...the more similar the sound, the more you'll fight with making it fit. For example, some guys use the same lead sound as they do rhythm and they wonder why they have to keep raising the lead guitar fader....then they lose the rhythm guitars, so they raise those faders, then they lose the lead....you get the idea. It;s nice to differentiate a bit, but make sure the tone you get is a tone you like that you aren't settling for less on. Good luck! :)

-DannY

spacey


I recommend getting Eric Johnsons videos' as well as listening to Danny.
"Total Electric Guitar" and "The Fine Art Of Guitar"
Eric touches on points that I think are spot on....it starts with the fingers and the picks...
You won't be sorry.

Agree with you there Spacey....the only thing that he needs to watch out for though....EJ is a purist. His tones are more natural where tones like Satch and Vai, have way more gain and are more along the "modern" lines. So the purist attack won't be as helpful...but will still be informative and paint a different kind of picture.
 
When you get into extreme gain processing like what Vai and Satch get, all the natural stuff EJ talks about is a bit less important because the more of a gain type sound we create, the more we lose that natural, pure sound EJ talks about. Though all that stuff...picks, pups, it's in your fingers etc is important and does contribute immensely to a tone, the more gain type stuff we mess with, the less that stuff comes into play. Anytime a guy has a big rack full of processors....the purist tone is pretty much non-existent unless his rack is full of heads. LOL! But, it's still good advice to have in your pocket. :)
 
-DannY

spacey

Danny Danzi

spacey


I recommend getting Eric Johnsons videos' as well as listening to Danny.
"Total Electric Guitar" and "The Fine Art Of Guitar"
Eric touches on points that I think are spot on....it starts with the fingers and the picks...
You won't be sorry.

Agree with you there Spacey....the only thing that he needs to watch out for though....EJ is a purist. His tones are more natural where tones like Satch and Vai, have way more gain and are more along the "modern" lines. So the purist attack won't be as helpful...but will still be informative and paint a different kind of picture.
 
When you get into extreme gain processing like what Vai and Satch get, all the natural stuff EJ talks about is a bit less important because the more of a gain type sound we create, the more we lose that natural, pure sound EJ talks about. Though all that stuff...picks, pups, it's in your fingers etc is important and does contribute immensely to a tone, the more gain type stuff we mess with, the less that stuff comes into play. Anytime a guy has a big rack full of processors....the purist tone is pretty much non-existent unless his rack is full of heads. LOL! But, it's still good advice to have in your pocket. :)
 
-DannY

True but we must include technique. One must consider that the attack on the strings via pick type/use and
the technique of pressing the string...firm tip/deliberate all effects what the pickup receives which directly processes.
He also covers damping to help keep the overdrive clean and also clean picking. (palm damping etc.)
How the tone is shaped with type of pick and he also gives great insight to picking location ( traveling between
bridge and neck pups)  - All very important information to all players.
...all having a direct effect on tone no matter of style.
Vai and Satch both have excellent tone control....I'm pretty sure you'd agree. They demonstrate very much in their
playing just string attack difference...going from soft clean tone to heavy fast bright attack JUST by picking technique.
 
Should we really exclude this information for metal guitarist?  I think not.
I'm also sure you'll agree that no matter how processed that tone at the end of the line can be heard with
not only pick, picking attack and string gauge. I hear it so I'm sure you do too. :)
 
Not to say I don't agree but to add that we can't limit advise due to what percent each factor contributes.
And the really tuff part is knowing what information a picker will process naturally and gain an amazing amount
of control of and have a major impact on his personal style.
 
We can't exclude harmonics Danny...Eric does a great job of demonstrating different techniques for that and
also false harmonics and palm sweeping chordal....pick/thumb combination most applicable to metal.
Which I believe is a great example of picking techniques offering more than just tonal aspects.
 
He also talks about his amps and his uses for style and tones. Clean, crunch and heavy.
 
I believe you may enjoy the videos too...Eric is just bad and has something to offer to any picker.
I agree he is a purist and that mindset he applies to the complete chain.
 
 
 
 
 
 
 
 

Trust me brother....I'm honestly not trying to disagree with you or give you a hard time. :) My point is, you wouldn't take advice from EJ as far as tone goes if you're into the tone Vai has...or George Lynch or even Kirk from Metallica. High gain is a completely different animal. EJ doesn't use high gain, he's more an over-drive with volume which equals natural sustain....the purist approach.
 
Vai and Satch have compressed, processed tones....EJ does not. So you'd want to be careful in any advice you would get from EJ in this particular department because though he is a guitar hero in all that he does, it's not the right tone to really base anything off of....and this is what I'm getting at. Granted, EJ has dirty tones...but nothing remotely close to what Vai gets out of those new Carvin amps he's playing through. Satch has a new rig too that is loaded with high gain. When you use high gain, the touch is different....the feel is different, it's more processed, a bit synthetic, things are hidden behind the gain...pups don't matter as much...execution is always crucial, but a lot can be hidden behind massive gain. So my point is, though it is all important and walks hand in hand, the tables turn a bit once you bring high gain and intense processing to the party and anything a purist would add to that equasion would be.....well, sort of right in ways, but moreso, off the mark.
 
You mention technique....though I agree this is important, the OP isn't asking about technique....he's asking about the choices we're faced with when recording a high gain tone. See bro, if he mentioned technique or other issues....or common sense type stuff that we that have been playing for 100 years already know, my answer would have been different. Sure, it starts with your finger tone, execution and pressure...the picks you use, the pups, the wood of the guitar, what amp, how strong the front end pre-amp of the amp is...the cabs and speakers you select, how much gain you use, tube or transistor, pedals or racks, string gauges...lol....it's limitless really. But I didn't get the impression that stuff was what the OP was looking for...and that's some of the stuff EJ covers in the vids I've seen.
 
Harmonics....all well and great....and something I use all the time. However, it doesn't give me "a high gain tone", know what I mean, Space? Should we exclude this information? Definitely not, but to me, it doesn't answer a high gain tone question while assuming the OP most likely knows the basics. You're sharing techniques in your posts which are important...but again, in my humble opinion, they aren't responsible for what gives you a high gain tone nor do they help you to decide on one. Whether a player can sweep pick, palm mute or do pinch harms doesn't matter in good tone selection, wouldn't you agree? I know for myself, if I couldn't sweep, tap, legato, or pinch harm, it wouldn't affect my tone choice in the least. A good high gain tone doesn't rely on any of those techniques. If it were a question of "I use this technique all the time, what amp do you think would best accentuate it?" then we talk a different ballgame. :)
 
To me, and I could be totally wrong, but I took the question as "how do you decide on what high gain tone to use and are there strategies?" Meaning, "strategic choices" and I just felt that though EJ is the man, he's not someone I'd ask about that if I had the chance. I'd hit up Nuno Bettencourt, Lynch, Satch, Vai, John Sykes or Warren DeMartinni for those types of tones. But if I was in need of a purist approach to cleaner sounding over-drive as opposed to high gain as well as some of the best techniques and execution in the business, Eric Johnson would be one of the first on my list. :)
 
-DannY

Yeah James, they have loads of high gain rhythm in their stuff. Vai has it all over his records from Passion and Warfare on. Dave Weiner was his rhythm guitarist...as well as Tony MacAlpine on keys and guitar. They duel each other all the time. Check out some Youtube vids for Vai live and you'll hear/see what I mean.

Satch has always had loads of rhythm guitar in his work. From Surfin' With the Alien to his present gig with Chickenfoot (with Sammy Hagar and Michael Anthony from Van Halen) have loads of driven rhythm guitars. As for Satch using a rhythm guitarist live, no, not the times I've seen him. He played rhythm himself and switched to leads for the songs.

-DannY

One would listen to Eric and any player to learn how to get tones to play any style and I believe that is why the OP stated, "etc." but I could wrong.

Maybe suggesting a dual amp A/B switch for tonal strategies is in order. Not only great
for tonal strategy (effects chains) but nice to have a back-up amp too.

"Trust me brother....I'm honestly not trying to disagree with you or give you a hard time."
I didn't think you were....I thought we were suggesting ideas so he could find his tonal strategy for rock/metal lead and rhythm. I didn't think the parameters were so confined is all. No problem.

mike_mccue



"Vai and Satch have compressed, processed tones....EJ does not. So you'd want to be careful in any advice you would get from EJ in this particular department because though he is a guitar hero in all that he does, it's not the right tone to really base anything off of....and this is what I'm getting at. Granted, EJ has dirty tones...but nothing remotely close to what Vai gets out of those new Carvin amps he's playing through. Satch has a new rig too that is loaded with high gain. When you use high gain, the touch is different....the feel is different, it's more processed, a bit synthetic, things are hidden behind the gain...pups don't matter as much...execution is always crucial, but a lot can be hidden behind massive gain. So my point is, though it is all important and walks hand in hand, the tables turn a bit once you bring high gain and intense processing to the party and anything a purist would add to that equasion would be.....well, sort of right in ways, but moreso, off the mark."


In my opinion this sort of "hi-gain" vs "purist" mentality is way off the mark.

Music is music.

Style is for haircuts and shoes.

I have fallen asleep in the VIP booth at a EJ show... and I wished I could have at the last Satch show I was crowd surfing at.

You can learn plenty from both those guys.

They are musicians!!! (but in my persoanl opinion both are so focused on tone that neither have taken the time to learn a good song to play) ;-)



best regards,
mike


OH yeah, for the OP.... yes, I'd think it's easiest to separate leads and rhythms with two distinct tones.

As I get older I find that I am personally fascinated with getting the two tones with my guitar volume knob and string attack. Back in the day I'd get my two tones with the push of a couple foot pedals.

It's all good, as long as the change amounts to a change in vibe and feel. And, that is the key... it doesn't matter how different the two tones are... if it doesn't change vibe and feel it is not happening.


all the best,
mike

LOL at first I thought this was a joke...but it's not, so I MUST rant! I don't know which bothers me more...the first part of your post or the last part that mentions "it doesn't matter how different the tones are". LOL!! I'll stay away from that one altogether because...you're walking into a jungle without a weapon with a statement like that.
 
I guess I'm just too opinionated for these forums when talking about things I've been living for 100 years vs. those that post light rock and acoustic songs. Don't listen to me, I don't know what I'm talking about. But I'll share a few more opinions before I fade into the abyss. I gotta say, I really find it annoying when people chime in for the sake of a voice when they don't know what they are talking about. When's the last time you used a high gain mesa type tone or plugged into a 25 space flight case full of processors, Mike? That's what these guys use and if you haven't used the said gear, there's really no way you can say high gain vs. purist is untrue. It's not untrue, it's completely factual.
 
Sorry man, though I respect you, I won't say I disagree, I'll tell you you're blatantly wrong on all counts in this thread with the only exception being "you can learn plenty from both". The older you get, the more acoustic guitar you play...when is the last time you plugged into a high gain amp and did some shredding? Can you even play lead close to what these guys can do in this particular style to absorb all that goes with it? Because if you can't, there's no reason for you to even investigate their styles and try to recreate one of their tones. Please don't tell me I'm off the mark when I live this style and play it every day of my life. There is a MAJOR difference between a pure tone and a processed, high gain metal tone as well as how you have to play and execute while using it. The only people that wouldn't know this are the people that have not had experience with a high gain, processed tone.
 
I'd gladly go into full detail and explain every aspect of the two and post audio examples to prove my point without using the net as my resource...but it wouldn't do any good I'm sure....so I'll spare you and everyone else.
 
(Side thought while typing this: Why do people feel challenged or threatened when someone knows something around here that they may have little or no experience with? I just don't get it. *shrugs*)
 
I don't know how many hard driven, modern type tones you've recorded over the years where YOU do the playing....but it goes way deeper than just getting an amp with a strong front end....and if the majority of stuff you play is acoustic stuff...you're in for an incredibly rude awakening applying that sort of playing into a high gain processed tone environment. It's totally different, has nothing to do with songs or music...it's a tone you create that is way different than just plugging into an amp and playing with pedals.
 
And next...(I gotta admit you REALLY got my goat with this)....but how much of a rock/metal guitar enthusiast could you be to make a statement like "neither have taken the time to learn a good song to play"? I saw the smiley after...but I smell sarcasm over joking. That's really harsh and extremely untrue. Part of this style is about coming up with a unique, high gain tone....which you'd know if you were into it....and let me tell you, it's extremely challenging. How well did Cliffs of Dover do? Really well and to me...was one of the best guitar instrumentals to ever grace the airwaves. Me liking it has nothing to do with it though....the success it brought on from regular music lovers and guitarists speaks for itself. How about Surfing with the Alien? Right...another that did extremely well on radio. Between those two songs, both of those artists got major acclaim which is proof they know a little something about songwriting and they've continued to deliver the goods and sell records while not on radio anymore. How scarce is longevity these days? With instrumental guitar music? Right....nuff said.
 
Can you remember the last time an instrumental guitar piece was on all the radio stations before them? Maybe Gary Hoey with that cover he did? Who before him? You'll have to probably go back a few years into the 60's and 70's. Eddie Van Halen playing Eruption in 1978 maybe...which is more a prelude to "You Really Got Me" and have always been played together. Pushing a guitar instrumental on national radio ain't easy...so they must have known something. Not particularly caring for EJ or Satch is one thing....to insult them by saying neither has learned any good songs just shows how off the mark YOU are on this subject. I can't think of a single rock or metal guitarist I know that would say something as ludicrous as that other than the ego elitists I know that think they are better than everyone. 
 
What type of guitar fan falls asleep or crowd surfs at a Satch or EJ show? Easy answer...one that thinks what they are doing isn't challenging or inspiratational and they can do a better job. Or...you're just not a real guitar fan and you're not into this style of guitar which means you probably have no experience with high gain guitar tones or the intense processing that goes with them. I'd guess the second choice is the correct answer as I've never seen you ever post a link to anything modern or high gain sounding. In all your guitar examples you've posted in the threads I've been involved in where you've attempted to put me in my place with your hero's, it's always been older players with pure tones that are nothing like the players we are talking about here.
 
So if you have no credibility on this subject, don't play the style, aren't a lead guitar player, think Satch, EJ or Vai can't write songs and worry more about tone and you don't own a 25 space flight case full of effects and high gain amps, why on earth would you dare take a shot at me and post the nonsense you posted above me? You seem to have been enjoying little jab sessions with me every once in a while. You can rule the roost here all you want with all the wisdom you have, I could care less who people look up to as the site guru...just please don't talk about things you know nothing about while attempting to make others that DO, sound like they are clueless. Trust me, you do this a lot in your posts to others with these little jabs. I'd never challenge you on something with photography, video or camera work because I know you'd wipe the floor with me....and I know a little bit about that stuff. That's called respect for another man's craft that I have no business getting involved in. 
 
Again I say...the OP asked for advice on Satch/Vai guitar driven tones which in my opinion require high gain most of the time. He didn't mention music, techniques or style, haircuts or shoes for freak sakes. I read a few things in this thread that I didn't think were necessities and just tried to explain the method to my madness. You have to understand, this is coming from a guitarist that was given false information for the first 10 years of playing as well as loads of wasted cash attempting to buy things the pros were endorsing where they left out important secret mods. When I asked a guitar hero friend around here whom I looked up to how he got his tone and was told "practice kid" that didn't answer my question. I wanted to know what kind of Marshall he used...what pedals, what rack gear, what speakers in his cabs. Technique and practice don't answer those questions...answers about the gear DO! The last thing I want to see...is anyone in the situation I was in due to people clouding their vision. Here's one more scenario before I leave you...
 
Yes, we can all learn a little something from every guitarist on this planet. But when you are working with a certain sound, it's always best to research the person that is inspiring the sound you are working with to get the answers you seek without going on a wild goose chase of stuff that will not make a major difference to the questions you are asking. What would you learn if you went up to Eric Clapton and picked his brain about tone when in all reality your quest is to sound and play like John Petrucci from Dream Theater? Right...not a single thing other than maybe some techniques. Prime example there of purist tone vs. processed, high gain tone. You could listen to Clapton talk tone until you're blue in the face....it won't get you closer to a Petrucci tone. Period.  But what do I know? Obviously nothing. Sorry I said anything at all actually...I so need to stay on my own forum where I belong. You metal mongers that have never shared any recordings of any tones resembling Vai or Satch answer these questions...you know better than me anyway. I'm just a wordy guy that goes through the pains of hell to explain things the way I live them hoping to make a difference using over 30 years of experience in the rock/metal/instrumental music genre as my guide.
 
-DannY

First, thanks to all who posted.

Second, Danny, please don't leave the thread. I am all ears. :-)

You are very knowledgeable about many things I am interested in.

Just a little background. I am an amateur (very amateur) and have no illusions that I would ever record anything that sounds near as good as Satch. I play and record to entertain myself. Satch is just the inspiration of what I am working on right now.

As far as inspiration of my current piece, I was thinking of Surfing with the Alien type stuff. He has rhythm and lead guitars going at the same time, no?

Having said all that, I guess I was a little too literal in my first post and I probably shouldn't have mentioned Satch and Vai. They just came to mind first. I really just was curious about layering guitars in general. It sounds like I don't want the same exact tone so that I can separate the guitars in the mix easier. That makes sense.

Thanks

Well I certainly feel strange now...almost unreal...so bye.

Of course high gain recording and mixing is nothing special...when you can't do it, it's easy to pass it off as "nothing special". :) You also can't play in this style to record yourself doing it...so why would you bother? You're the classic example of an older guy that will praise the lead playing of Keith Richards and bash a guy like Yngwie Malmsteen because YOU can't play that way and pass it off as "no feel, nothing but speed and boring". I've seen and heard what you consider good. Some of it wasn't impressive at all to a one-trick-pony guy like me with a hair metal mentality. :)  

Opera singers....there's another genius piece of information to add to a metal guitar tone thread. That goes really well with "style, haircuts and shoes", and taking shots at people because they play "hair metal" (almost a nice save, but I saw it before you edited it) as well as "it doesn't matter how different the two tones are." You're batting 1000 today with inexperience! 
 
I'll say it in blinking lights Max, don't listen to this guy...he's so out of his tree in this particular thread, he's beginning to believe his own misconceptions. Him and his "I've recorded everything under the sun" comments yet no one ever seems to hear any of these incredible secret recordings nor has he ever offered anything for us to hear in the rock/metal/instrumental genre with HIM playing guitar. It's "off the mark" to you because you can't play well enough to know what the differences would be nor are you familiar enough with the genre of high gain guitarists to make such ludicrous comments like you've made. Thats like me bashing Pro Tools without ever trying it because I know how to run Sonar. I guess because you play old songs on acoustic guitar that you're a metal tone master now? Your passive-agressive, know-it-all-been there-done that attitude really gets old....especially when it's obvious you don't know what you're talking about and you change your approach when you get caught with your hands in the cookie jar. It's pure comedy most times, but today it's rather old hat. 
 
See, I have you figured out. You're the guy that will praise the guitar solo in Cinnamon Girl because you can play that one...and bash a hair band guitarist like Reb Beach who plays guitar like a sax...yet because he was in a hair band with some cheesy lyrics...you totally ignore the talent because you can't even comprehend what he's doing...it's just noise to you...yeah, I get it. :) I won't ridicule you like others have done...I'll just state the obvious each time and watch you bury yourself while you attempt to pull the wool over people's eyes. :) No need to respond really..but you know me, I'll keep it going as long as you want to keep sticking your foot in your mouth. :) And since you felt a "disagree" post to me with more useless information was more important than answering Max's latest questions above (because you don't know the answers anyway) I'll do that for him because, I DO know the answers and that's how I roll. :)

-DannY

Max: Since you asked and explained your question a bit better now (not that you had to, I understood you from the start but you made it more clear now) yes, layered guitars would be something to try. However, you don't find much of this like you would let's say a band like Sixx AM or Creed or Nickelback. Those types of layered guitars are like an orchestra of madness. To get those types of sounds, you need a few different amps, guitars and multiple takes with different panning and eq curves.

For instrumental metal music, most of the guys use 2 rhythm guitars and they are played individually. Some eq each one differently so you get both the human error timing factor stereo thing...as well as the different eq's being used to further enhance the stereo sound. Other times, a dude will just lay down the same rhythm sound twice because it just works. Now if we go back to the layering I mentioned with the more modern bands, they may have one amp doing a low end sound, one with mids, one with a bit of brittle high end. So that's at least 3 per side and 6 guitars that they'll layer in different pan fields with different eq's. That's how they get that "guitar everywhere" sound.

This really isn't needed in instrumental music...but there are no rules that say you can't do it. Just remember though...the more guitars you add, the more space you take up which can make it a bit of a challenge especially if you don't get the layer volumes just right. Excessive gain can be a nightmare to work into a mix...add in 6 or more guitars doing it, and it can be a really difficult.
Speaking of gain, that's Another thing to watch for. Most rock/metal guitar tones don't have anywhere near the gain you think they have. Some guys mistake gain for high end and make their tones too sizzly sounding...so watch for that too. But a good way to test your gain in your rhythm tone, is to chug a chord. If you can't hear any percussivness from chug to chug to where it literally sounds like the words "chimp chimp" or "chunk chunk" (I use those to explain the syllables in sound...I know it sounds rediculous...but you'll hear what I mean now that you know what to listen for lol) you're probably using too much gain.

If you chug and it sounds like rah rah rah or rug rug rug to where there is no percussivness to it...it will pretty much soundlikearunonsentenceofchuggingwithoutabreakinsound. LOL! That's really the best way I can explain it to you. The "ch" sound in "chunk" is your percussive attack. The "k" would be how warm your sound ends up being. The "ch" in "chimp" is the same percussive attack...but the "p" sound would be a brighter tone, understand? Say the word "chunk". Now say the word "chimp". You'll notice that "chunk" is darker than "chimp" but both have more percussiness and flavor than rah rah rah or rug rug rug. :)
Now, most guys in this style, change up their lead guitar tone. Whatever your rhythm guitar sounds like, you're better off with your lead being the opposite at all times unless you come up with something totally trippy. For example, if we have a razor sharp rhythm tone, it's best we go for a creamier, warmer lead tone because you don't want the razor sharp rhythm tone plus a bitely lead tone to be fighting each other for the throne.
 
 
The same if you use a warmer rhythm tone...you don't want a warm lead tone too or you'll get mid range congestion and the two will fight each other. I like rhythm guitars with a bit more cut and presence with my lead guitars being a bit warmer like I mentioned in my first post. To me this is cool because rhythm guitars are playing chords or riffs on the lower strings. They can have a bit more cut in them. But lead guitars are usually using the upper strings and when you have too much presence or treble going on...it makes the lead tone pierce right through your ears and bite way too hard.
 
Satch has a really nice warm tone. Vai at times is a bit abrasive to my ears in the lead department...but has really warmed up his tone over the years. Satch kinda uses my method...or...I guess I use his since he's older and was famous first. LOL! He's got the higher end in his rhythms, more mids and warmth in his leads. Vai is just....weird. A total tone master that has the best control I have ever seen and heard. I'm not really a Vai fan because he's a bit too weird and out there to me most times....but I'll never deny his incredible abilities as a true master of rock guitar in all areas. His feedback control is second to none considering all the gain he uses at times. But some of his tones are a bit...well, just strange sounding to me....and not tones I'd use. Other times...like "For the Love of God"...what other guitar ballad compares to that? It seriously had every element of feel and emotion you could add to in instrumental rock ballad. It brought tears to my eyes a few times when it first came out. Everything is so perfect on that song. If anyone has shown God how much they love Him, Steve did in that song.
 
So yeah man, you definitely don't EVER want the same tone going on unless you are layering something and you may want to add in a guitar that may be playing a little riff that goes along with your chord changes. Then you can keep the same tones because the little riff is only reinforcing the part...it's not a "lead guitar part" so to speak...so you may want a bit more presence happening in a sound like that.
 
One more thing I'll share with you that you may find useful. In most modern or high gain tones, you need at least 3 sounds to have at your disposal.
 
1. The all alone sound: This sound can be whatever you want. All the effects you want, all the low end you want, all the mids...there are no rules here. The reason being? This sound is all alone and nothing is competing with it.
 
 
2. The "fit the mix sound": Most times, this sound will not be anything to brag about by itself or if it's solo'd up...but man does it work in a mix with other instruments. This sound should have less gain, be very light on effects, high passed properly, careful of mids making it too warm...careful of highs making it too piercing and should be compressed a bit more than any other guitar sounds you're working with. Watch for delays and long tail verbs....all they do is bury the sound and make it tougher to hear. Watch for chorus effects due to how they sweep down real low...that "sweep down real low" thing can totally kill you if you're not careful. Try to eq those types of effects if you need to use them.
 
3. The lead sound: Your lead sound is going to be a combination of your all alone sound and your fit the mix sound. You'll probably use more gain for sustain on your leads...you'll probably use some verb, delay or chorus and it's pretty much open season here as long as you play clean. If you play sloppy, effects are your worst enemy...but can help hide flaws in your playing while they mask things within the mix. What you need to do here though, is eq for the phrases you are playing when possible. If you are playing loads of lower notes in your solo, you're going to have to high pass more than you would if the solo is way up the neck on higher strings.
 
You want to high pass anyway because with high gain, we have to be careful of "the almighty whoomfing frequencies" as I call them. Too much low end in a tone will totally mud up and walk on everything since this instrument will be a focal point and one of the loudest in the mix. Watch for high end so you're not sending out piercing frequencies that would make a dog tilt his head side-ways. If a tone hurts you for a second or makes you second guess the high end, chances are it's a bit too bright. Have it a little warmer instead of piercing and play it safe. Hope this helps...good luck man. :)
-DannY

:-)

I am not a "metal" guitarist either....  but I did stay
at a holiday in express last night.

"I'm gonna try the triple track/eq. (1 for lows/1 for mids/1 for highs) first thing in the morning."


Is that for the rhythm or the lead?

:-)

Excellent! Thanks for the info. Lots to think about.

FWIW I really like Neal Young and I love the one note solo of Cinnamon Girl lol

I also really like Satriani, SRV and Michael Hedges.

All 4 have very different styles but an inspiration none the less.

Michael Hedges was a friend of mine. You don't hear his name him often these days. Good memories... I miss his soft energy and humble manner.

:-)

Neil Young is a favorite... especially the live shows. I really admire how he changes up styles from tour to tour and works a theme for the shear fun of it.

best,
mike