2014/07/08 19:24:52
davdud101
So, I've always wondered.... A lot of artists, especially in metal, like to track 4, 8, 16, ridiculous numbers the same guitar part. But I've always wondered- in a situation where it were possible, what would it sound like if someone were to track 100 guitars and pan each one at a single interval on the panning spectrum?
2014/07/08 19:41:09
wizard71
I think you should go for it and post the result :)
2014/07/09 00:10:17
sharke
They would just cancel each other out and you'd have perfect silence. Believe me, I've tried it. The more guitars, the bigger the silence. 
2014/07/09 11:48:58
Kylotan
You'd converge on a chorusy-sounding wall of guitars.
 
What people do with distorted guitars these days is not really dissimilar to what people have always done with string ensembles and choirs, except that in the latter cases you usually capture all the parts at once. But the outcome is the same - a broadly similar sound to the solo instrument, but somewhat louder, with chorus effects where some 'players' are slightly detuned and/or out of phase relative to the others.
2014/07/09 11:53:31
stickman393
Side Two of Mike Oldfield's "Ommadawn" will give you a good idea of how this could sound. (Youtube Link)
2014/07/09 11:55:10
batsbrew
i find that with the pro releases i like to listen to,
no matter what the genre,
the best tracks (IMO) are single tracks.
 
i like to blend 'different' rhythms, but played with each other,
with their own character and timing,
left and right,
with ear candy here and there.
 
i've experimented for a LONG time with multiple built up rhythm tracks,
and found for the most part, 
for every added part, you are that further away from power and impact.
 
 
 
2014/07/09 21:41:58
Dave Modisette
To me, massive amounts of the same instrument does the opposite of what you'd expect.  It actually makes the sound mellower.  For example, a solo violin always sounds more dynamic to me than an ensemble.  The difference is the volume level.  But when recording, volume level isn't a factor because you have control of that.
 
YMMV.
2014/07/10 06:05:58
Karyn
Think of the difference in sound (other than pure volume) between a string quartet and a 50 piece orchestra.
It would be interesting to hear what 100 guitars sounds like, though to get the proper effect you'd have to record 100 guitars and not just copy the same 2 or 3 takes lots of times...
2014/07/10 09:49:52
sven450
If done properly, you can get huge sounds with lots of guitars.  Lots of guitars playing basically the same thing with roughly the same tone?  try Alice in Chains.  I think I read that they had multiple overdubs of on both channels for most of the songs  https://www.youtube.com/watch?v=zTuD8k3JvxQ
 
or read this  http://books.google.com/books?id=YmocmZU2eJcC&pg=PT24&lpg=PT24&dq=guitar+overdubs+alice+in+chains&source=bl&ots=mAmJRHSWgc&sig=niFG2UfQHhv9ZRyPgNuwEjKEi9s&hl=en&sa=X&ei=CZe-U6S8N5KmyASGjIGwBg&ved=0CCkQ6AEwAg#v=onepage&q=guitar%20overdubs%20alice%20in%20chains&f=false
 
 
On the other hand, take Alex Lifeson of Rush, who reportedly has massive amounts of guitar tracks on many tunes, including iconic ones like Tom Sawyer, but can still sound clear.  Clean mixed with semi-dirty mixed with chorused, mixed with whatever, over and over.  He manages to sound huge yet defined. The title track of their Hemispheres record is a good example.  Lots of guitars, but it sounds great.
https://www.youtube.com/watch?v=GJJSe4YnhYU
 
It can be done for sure.  However, like most have already said, less is more works as well, and it is a hell of a lot easier to sound big that way.
2014/07/10 11:31:56
batsbrew
sven,
i dont' think there are much more than a couple of rhythm tracks for each of those examples you suggested.....
the base rhythms are typically one track, split in stereo, or doubled left and right.
 
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