How do you isloate guitar tracks?

T

tabqwerty

Inspired
I know this is a question for Tone Matching, but it's more directed toward how to extract guitar from any song. I couldn't find how on YouTube.
 
You pretty much need to get a track that already has the guitar track isolated, "stem" tracks as they are often called, unless its a recording that features some isolated guitar parts.

Simply not possible to totally isolate the guitar parts from a typical band mix. You can try to do some stuff like high and low filtering, canceling out the center mixed frequencies etc, but it just doesn't work well enough for a tone match. Its like trying to isolate a vocal part from the rest of the backing track, can work to some degree, but its not going to sound like an isolated studio recording pre-mixdown, or an A Capella track
 
In my experience, tone matching from songs (MOGG files) has never worked.

If you want to emulate a guitar sound from a record, the best thing to do is research what amp and cab they used (if you can obtain that information), then try your best to get close to that tone.
 
Isn't there some software out that kinda does this.. And removes guitar from tracks. Not perfect but better than a poke in the eye with a sharp stick
 
Lionheart said:
In my experience, tone matching from songs (MOGG files) has never worked.

If you want to emulate a guitar sound from a record, the best thing to do is research what amp and cab they used (if you can obtain that information), then try your best to get close to that tone.
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If the quality of the MOGG is decent and you have a similar tone to start with, I have always been able to TM from MOGG. If though I can't find a tone kind of close then I have issues. But yeah I use Jammit all the time and I get compliments all the time on how close my tones are.
 
laughyouraxeoff said:
If the quality of the MOGG is decent and you have a similar tone to start with, I have always been able to TM from MOGG. If though I can't find a tone kind of close then I have issues. But yeah I use Jammit all the time and I get compliments all the time on how close my tones are.
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Clips and Presets or it didn't happen.................................:eagerness:
 
Moke said:
Clips and Presets or it didn't happen.................................:eagerness:
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Yek has heard some of my work. When I shared it with him he commented on how close my tone was though this was a year ago, I used TM to get the tones and he was impressed and believe me Yek is not easily impressed:) But I agree with you, no proof it didn't happen, so maybe Yek will see the thread and if he recalls the cover I shared he'll comment:)
 
Moke said:
Clips and Presets or it didn't happen.................................:eagerness:
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I found an example, this is the one I shared with Yek. let me set this up so you know what I am doing ect. I purchased a Jammit track, it had vocals, bass, drums, and key's in it. I removed the original guitars and put my guitars in that were TM from the original ones in Jammit. I even did the Guitar synth solo part with the Axe II and though it was my time using that effect in the Axe I think it turned out well. "Ignore the count in as I use one obviously so things line up" and was to lazy to remove it for this example haha:)

Playing: Rebel Yell For Video.mp3 - picosong
 
Muzza_Boogie said:
Isn't there some software out that kinda does this.. And removes guitar from tracks. Not perfect but better than a poke in the eye with a sharp stick
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Yes, there is software that kinda does this. It uses the tricks lqdsnddist talked about in post #2. It's an approximate solution at best, intended for learning riffs rather than matching tones. But it still leaves non-guitar sounds behind, and that throws off your tone match.

Even parts of a song that have nothing but guitar in them can be problematic. I'd there's any reverb or other effects, they'll have their own EQ and will still throw off your tone match.
 
Rex said:
Even parts of a song that have nothing but guitar in them can be problematic. I'd there's any reverb or other effects, they'll have their own EQ and will still throw off your tone match.
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I ran into this with a Def Leppard MOGG file. Guitar track sounded good, but when I went to Tone Match...yikes! And I even picked a part that I thought was dry.

Others may like the Tone Match block, but as for me, I have no use for it. I'd rather use an Ultra-Res cab block.
 
The ones commonly shared around are rips from Guitar Hero, which was provided with the original stems. They're great for it. They're of course illegal, but not too hard to come by.
 
You have to find a song on an album you like, with the guitar tracks in the clear for a few seconds.. ( intro, outtro, etc... )

I've had amazing success with it, making perfect tone matches. Did this for an artist friend of mine with one of his songs... he bought an AxeFX II the next day... ;-)
 
Not everyone is privy to the master tapes where one can extract the dry recording of the amp initially.
Depends on what band sound you are going after.

What does the guy play amp wise speaker wise mic wise efx wise
if you know or there is information on it available that helps
because you must build it inside the axe with amps cabs speakers mic's efx which are
already there first and use your ears...

Lionheart knows something I dont about the ultra res block
I think he is capturing the sound post cab its like a speaker load is on
a regular amp and you can capture the IR there and you get both amp and speaker IR.
or even both. But its good information and we all should learn from that..
I want to learn this from all angles so I ask questions.

If you do detailed research on the particular artist and you
can list his gear used on those recordings that helps YOU.
stack all that up inside axe fx and start tweaking..
amp
cab
mic
try each mic and null or no mic at all.
just to know how those sound.

as you go along and somethings leap out at you you can save in axe edit in library
as you go if you save by artist and list mic speaker cab amp artist in title it files by artist in library.

when you go back through library suddenly you have many efx and amps and cabs and mic's saved
those gems that lept out at you and the pay off is they all sound amazing.

thats incentive I learned that watching coopers tutorial.
it works for axe II and XL..

I try to save something in the title to trigger exactly what that is saved for.
artist name or song title even more detail if it fits in title.

Hints or clues as to what I was doing that day when I saved that.
if its a particular artist or song I recognize and might say
I want that for another song and already see it in my minds eye
that amp is going to be raunchy and brittle and I want that speaker to mellow that out some but not kill
everything and this mic will do that.

I learned alot about which speakers I liked for which amps and which mic's if any
but ive no where heard all of them.

You have to do that gradually and be persistent to hear as many as you can
and research or note someone else liking that and why.
Save those off as something that leaped out at you and file it where needed.

Too many speakers and mic's to try and some are baked where you get several mic's
some are individual or you can add or subtract what you want by choosing that.

You will get ear fatigue and everything will start sounding the same after several hours of that each day
so slow and steady wins the race and you can still be making plenty of music and not have to have 500 different speaker cabs
and different mic selections Id think at some point you just say thats enough and start stacking up some things you like and just
using those.

I was told the IR thing is very time consuming and you might shoot hundreds and not like them
so that advice helped me to just use my ears and build things up like he said using the exact gear if known
to do so.. This helps hone that sound in faster.. If you are playing it live and get where you cant tell the difference
from dry track and your saved sound go with it.

Store edit edit and name it and save it all in library amp cab speakers mic efx
name it as such by artist when you go back in library in 6 months you would
say woah whats all this ?

its you..
all the things you are.

all the things that inspire you
then you can pull those up and drag and drop those efx into other patches if needed

as you are doing that you are building your own things up by ear
soon you can just see things in your minds eye and say ok
im going to do this and that and add this and put those with that
and I know its going to sound like this.

Thats something ive been noticing and I was quite new to this and still am.
I have much to learn but from what I read shooting IRs is not just a simple thing and
you might shoot hundreds or thousands till you get one you think is adequate.

But if at first you dont succeed
Struggle till you do.

If you find the entire process neat and fascinating then its never boring
or mundane.

I have to learn the mfc edit next. That looks very helpful to my goal of becoming
a musician who can setup in 10 min flat and roll through 100 tunes and not stop.
or 500 tunes or any song..

If there are no dry recordings available of the artist you are speaking about
you might inquire what equipment was used as its important and matters.
So you can build your cake and eat it too..

This works the more I learned about which amps were used and even tone stacks
tubes speakers cab mic efx the closer I was able to nail the sound within.
save it and move on.

You could try the direct approach and contact the artist if he or she is alive
and ask them and or ask about the process find where they recorded
do some sluething.

It pays off.

I was chasing this Hendrix tone from Monterey pop Like a rolling stone.
well a friend and amp builder I know said oh its this
here and handed me all the specs..
pics you name it and the tubes were kt 66 not el 34
well well I went into axe fx changed tone stack speakers
tubes and even went in and input the PF settings adding in some
values there in the pf section under axe edit
I went back and played the amp with all the efx and speakers id already dialed in see
and just slid those right in place and tried it and instantly the amp sounded better and closer too the real thing.

I made a slight correction too the tone pot on bridge pup and bam there the sound was.
spot on
even using a humbucker vs single coil that not being what Jimi used..
Still I could nail that tone..

two adjustments at the guitar and that tone was saved in stone.
I cant get any closer too it.. Now I just work only on the tune and phrasings.
nuances and work on trying to sing and play it at same time.
That sound is done..

I chased and chased it but had the wrong tubes tone stack
speakers and even values in tone stack.
I went and input all that saved as and it nailed the tone I was after.

mission accomplished.
I started doing that with every artist that influenced me.

saving the amp cabs mic efx and naming as such
the process has yielded many different efx settings
for each block..

many drive blocks and delay times or verb settings
chorus vibe ect.

The tech that helped set my axe up taught me that.
He suggested I do that as it helped dial in the sounds I wanted faster.

He was 1000% right and his approach works.

When I heard that Hendrix amp and stood my own hairs up I knew id nailed the tone I wanted
ive been chasing that sound for 30 years..

never found it with any real plexi.
Reason ? had no idea of the tone stack or tubes speakers
I Thought el 34s super lead 67 68 69
close but not close enough.

I want spot on if thats what you are after
follow those suggestions that the tech showed me
and I think you will find your own sound and put the kabosh on it.

save it and own it.
 
laughyouraxeoff said:
I found an example, this is the one I shared with Yek. let me set this up so you know what I am doing ect. I purchased a Jammit track, it had vocals, bass, drums, and key's in it. I removed the original guitars and put my guitars in that were TM from the original ones in Jammit. I even did the Guitar synth solo part with the Axe II and though it was my time using that effect in the Axe I think it turned out well. "Ignore the count in as I use one obviously so things line up" and was to lazy to remove it for this example haha:)



Playing: Rebel Yell For Video.mp3 - picosong
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Awesome! Great playing too! Please Post Patch(es) ! I am just interested in your use of effects ( delay chorus etc).
Keep on rockin'
 
Riffstation does OK but that depends on the song though. I was never happy quality wise. Like other said, stems ripped from Guitar Hero songs are a great source and another is splitting a channel from a 5.1 audio. Again, not all concert DVDs may have a guitar track on a channel itself.
 
Melodyne editor will let you see the guitar parts visually even in a full mix.

But you can't separate the guitar from the mix.

It's too pricey for me so I let the demo expire. I was only using it for transcription and it's really designed for tuning notes not for transcription.
 
HailHalford said:
I'd love to hear that Jimi at Monterey patch. One of my favorites.
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I was just going through what settings I had for Jimi head and 18.8 update changed all my internal settings..

Not very pleased about that..

I have to redo them all..

word too the wise if you have spent hundreds of hours like I have setting patches
SAVE EVERY ONE OF THEM SCREEN CAP THEM AND BACK THEM UP.
I have so many screen caps I cant find the Jimi amp..

I have to go rebuild it again but its kt66 tubes...
let me look this up ill post the information when I fix it again..

eeegghhhhhh I wish the internal settings would not get all fucked up every time I upgrade .

Thats thousands of hours of work down the drain.

I have the notes on the amp ill find it..
 
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