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I agree they sound more full, but it depends on the sound you're using. If it's a super high gain tone, something like a Mesa, 5150, etc, they tend to sound quite shrill and harsh. But if it's a more crunchy or clean tone, you're probably fine.

Thanks so much, I really appreciate that!

It's hard to beat 🤘

That's true! Though it's a sound I don't particularly enjoy, haha. At least not for the genres I typically produce in any way.

I do love single coils, and I prefer them over humbuckers for almost any application, however in the case of this, I would probably opt for a humbucker. They have a tendency to dull the single a little more, whereas single coils would only add to that brittle / harsh sound I was describing. However, as you mentioned, there's a ton of ways you can go about this. The methods I showed are just a few that have worked for me. Thanks for sharing!

@@SugarpillProd I love P90s for exploring that area between a little fur and clean with some bite. Not questioning your methods at all but as you said there are lots of ways to play with and that to me is 3/4 the fun. Thanks.

There's for sure a lot of different ways you can approach this issue 👍

Thanks, I appreciate your thoughts!

Most people do lol.

Augmenting with a clean or acoustic guitar is always a good shout. But you inevitably still have that harshness to the guitars when playing full chords through high gain amps. You're not fixing this, just covering it up slightly. I don't know the extent of your recording knowledge, but there's a number of ways that even if you have been recording through super high gain amps and played like that, undoubtedly things have happened in the recording and mixing phase to counteract this. As I always try to preach, it's better to fix these things at the source first, instead of leaving it for someone else to. Though this is also totally context dependent. If you want to make a record like Psychocandy, then the more harshness the better. But if you want a cleaner, polished sound, then turning back the gain (or separating things out) is a good way to get that sound.

@@SugarpillProd I've been doing live and recording engineering for about twenty years. The player's hands have the most to do with how much clarity you get with open or complex chord structures. I don't have any Grammys on my shelf so my opinion is worth about as much as the next internet rando's. Regardless, I appreciate your content we just have a difference of opinion here.

@@rickfinsta2951 No worries, all good!

I have no idea 😂 Maybe that song uses a similar progression? I'll have to go have a listen, it's been a minute since I last heard it, haha.

Thanks! They're an awesome band!

I think my wording was maybe not the best when I said "hazy". I was more referring to the chords sounding harsh / brittle when played through high gain amps, not muddy. Regardless, augmenting with a clean or acoustic guitar is always a good shout for that!

@@SugarpillProd Especially when you’re lazy, like I am 😏

Thanks! I hope you can put it to good use in the future 😊

Actually they're a great example of the sound I was talking about. Supersonic just sounds like a wall of thin, buzzy guitars to me 😂 Not a sound I personally enjoy, but everyone has their own tastes.

Thanks! It's a website called Oolimo.

@@SugarpillProd thanks! Going to try it out! 🙏

I didn't say it sounded muddy though? I agree that thirds can, but that's more to do with the tone you're using. My point is that open chords tend to sound too thin / hazy when playing through high gain amps because there's basically too much information there. So splitting out the chords into high and low sections gives you more control over the sound, from both a recording and mixing perspective. If you did want to play open chords through a heavily distorted amp however, I would agree that leaving out the 3rd - so say 3x0033 for a G chord - would sound much better.

@@SugarpillProd That's exactly what I mean (3x0033).... so in your example where you split the chords you do three of the four chords with 3rds on the low part and then you put thirds in the high part as well. This gives you two thirds an octave apart which will cause intonation problems PLUS the somewhat unclear sound of 3rds on low strings. It's not to criticise but this is part of how to make good arrangements. Double 3rds are always problematic and don't sound very well, they are FORBIDDEN in classical harmony for exactly that reason.... Piano players never play thirds in the low range of the keyboard when comping songs.

@@josdurkstraful I mean piano is a very different instrument from guitar, and I don't agree with anything being "forbidden". I personally like the sound of 3rds a lot on lower guitar strings. They add a nice jangly sound that you don't really get when using 5ths or octaves. As long as you play them in right, I've never found them to be an issue. Fair enough if that's not your kind of thing, but that also wasn't what I was talking about in the video regardless, haha.

As a bass player I will conform this, thirds and sixth (imperfect consonance intervals) sound much better of in the higher registers. Just my opinion though.

@@matthewjones6836 First piano, now bass. I don't know what's going on in this comment thread anymore 🤣

Not sure if I'm misunderstanding you here, haha. Do you mean like buying a new jack cable?

@@SugarpillProd yeah

Honestly very rarely. I don't think I've bought one in the last 5 years or so, haha. But I put very little strain on any of my cables, so that's probably a factor. I don't play live and I basically just have one connected to my Axe Fx that's coiled up at all times, so I'm not doing anything that could lead to it breaking. Learning super basic soldering is helpful though. 9/10 times a broken cable just needs re-soldering, so you can save a lot of money by getting a cheap soldering iron and fixing them yourself, rather than buying a new cable each time. Hope that helps!

@@SugarpillProd thanks bro. now i need to learn how to solder lol

To clarify what I meant by counterpoint and parallel motion: For example, if I was moving from G major to D major, I might play one octave part that started on G on the A string and moved down to F# on the A string. That half step downward movement feels pleasing and logical. And then I'd have another guitar playing the D on the A string and just staying there across both chords. Lastly, I'd have a third guitar playing B on the A string and moving down to A on the same string. So there's some cool voice leading going on there and you get interesting inversions that you don't get if you play standard chords. Also, the chords sound bigger because they're spread out over three guitars and they're all doubled in the higher octave (in this case on the G string).

Nice! I like blending them with a clean guitar too, though I tend to use acoustic guitars more now, as you get that extra percussive sound from them, and they don't sound as muddy if you're keeping them down the centre channel like an amped track can sometimes do. That Wanima song I used a clip of in the video is actually a great example of that sound!

same thing lmao

I use Reason 12 for recording & arranging, and Reaper for mixing & mastering.

Thanks! It's a website called Oolimo.

Haha never realised it was German until now.

It works great for layering up a simple arrangement!

Happy to help!

@@SugarpillProd your videos are always insightful. I'm always learning something when I watch them.

Thanks, that's really nice to hear. Makes it all worthwhile!

Nah, this whole video was aimed at the jazz fusion crowd.