I'd say doing it twice - or more and picking the best 2 - is going to sound a bit better.

Just copy/paste and pan L/R will end as a mono signal, and you will gain nothing. You can nudge pasted part for a few ms, but that will open another can of phase problems. I have never been satisfied with nudging method. The real deal is to play twice (tight as possible) then pan L/R. Use less amp gain for better definition / dynamics / punch, and dont push bass freq. on amp too much, leave that for bass guitar.

Groff, post: 348177 wrote: Just copy/paste and pan L/R will end as a mono signal, and you will gain nothing. You can nudge pasted part for a few ms, but that will open another can of phase problems. I have never been satisfied with nudging method. The real deal is to play twice (tight as possible) then pan L/R. Use less amp gain for better definition / dynamics / punch, and dont push bass freq. on amp too much, leave that for bass guitar.

From my experiences, couldn't agree more

Allright, thanks guys, I'll remember to re-record in the future :)

I agree with Soap and Groff too. You can really get into some phasing problems by copying and nudging the same part 2 times or more. Record it twice. It will not only sound fuller, it will help make you a better player for the studio.

Also, a less successful method is two use two *different* mics on the same amp. Or reamp w/ different mic and/or placement.
This at least gives better variation than a simple nudge, though it won't necessarily add fullness.
Further, phasing issues (from careless mic placement) can still arise.

Why do this rather than double-tracking? If you have to - the player can't double-track well enough, time/budget doesn't allow, etc.

Not a great idea as I end this post, but another option that is available.

when im recording that style of music here is what i do. i set up 2 amps with 4 mics, run the guitar thru a radial switch bone so i have no signal loss on the split to the 2 amps, now i have i part played with 4 different (but similar sounding) parts all very tight and neat with no phasing problems from trying to record multiple passes like "guitar chugs" which will NEVER lineup as no guitarist is perfectly capable of recreating the same pass over and over again.
if yo like, on my website, in the audio section, listen to the song "Lie the World". there were 2 guitarists and i set up the signal chain like this. 4 amps, 4 cabs, 6 mics. signal split thru a radial JD7. recorded each part ONCE but had 6 sounds.
its is super tight sounding. so in the end we had 2 guitarist, 40 tracks of guitars as we did all the parts separately, intro, verse, chorus, bridge, outro, solo etc. yes its alot of tracks to mix down you say BUT the only thing i did on all the guitar tracks (distorted ones only) was to blend the mics to taste. no eq, no compression, the eq was done at the source and the mics were picked for their sound closest to what was coming out of the amp and control room monitors.
you'll be in BIG trouble if you try to record record record each part over and over again. it will sound like yo have a phase shifter onthe entire guitar section
good luck and take a listen to my track.

Nice sound planet10. Depending on the rythm part I still prefer re-recording to double. Honestly depends on the musician and the guitar part. But with a guitar distribution amp, you can really go a lot of different ways and achieve some really tight guitar sounds as you've mentioned hear and shown on your site. BTW, nice sounds coming out of your studio!

ok.. well if its not tight you should go the route that i do. especially if the parts are not different in any way, get the whole thing done in one pass, no fuss no muss!!! i wouldnt waste alot of time trying to get double tracked guitars to sound close, get them to be perfect!

thanks for the props on my work, i appreciate it.

Would it be a good idea to use 2 mics on one box, e.g. Beta 57A and SM57.

I'm really worried about phase issues since I haven't done same source with multiple mics recordings.