Yes, sometimes even to the point of exagerration. It is barely audible though, high gain acts as a compressor so it flattens dynamics. Especially when using digital amp sims.
Tried to record it, something went very badly - project tempo changed somehow, rythm guitar went out of sync, but at least I got used to beats 2, 3 and 4 and I could synchronise with them better.
I will try again tomorrow.
Now I remember since @BlackInMind brought up the Dismember song. You already posted a thread like this months ago, we (@BlackInMind and myself) gave you the exact same advice from this thread and you’re still obsessing over this… The answer isn’t changing…
I’m aware the band you’ve mentioned is not technical, and that they are black metal. That’s precisely why I said what I said. Since this is a not a technical band, you should try to match the sonic quality of the piece and nothing more. 99% of the time for this style of music you’re trying to tremolo as fast as you can without regard for subdivisions - “unmetered” tremolo.
This OCD sort of thing does come out a lot on this forum, whether it’s with regard to motion mechanics, tone, whatever. It’s good to a certain point to care a lot about those things because they do matter, but occasionally a person goes too far into it and it seems like you’re already there. Just saying man. It’s not productive to be this fixated, and all of the clips you’ve posted either recently or months ago sound well within the ballpark. I don’t know what hours more of focus on this will do for you, but the results will likely be unnoticeable.
I totally forgot I posted this before…
Sorry about that. I must really be obsessed.
Edit:
Looking at the previous topic though, the original question was slightly different:
Original topic was dealing with an issue of increasing speed for 4nps tremolo picked pattern.
I created this topic because I was curious about others’ approach to keeping time, an “internal metronome” if you will.
Circumstances are similar, but while the first one is purely about speed, this one is more about accuracy and feel of time.
Seems both got slightly side-tracked in a similar direction.
Another possible confound is that in my opinion metal doesn’t really use even 16ths, there’s a certain “feel” that I guess is a bit similar to swing.
I’m going to have a go at explaining this in text but it probably isn’t going to work.
Let’s use the intro of this: https://www.youtube.com/watch?v=lfpWDOzE5nM
So you’ve got your quarter note “stab” and then your fill in of sixteenths.
In my opinion rather than these being metrically exact the stab is dragged slightly behind the beat and then the sixteenths are maybe a touch faster to make up for it.
We’re talking micro amounts but it lends a certain “gravity” to the first note of the bar and sort of sucks you in.
Obviously at faster tempos the effect will be almost imperceptible but the effect on trying to actually play the stuff is still there.
In a black metal context you get a sort of “fluttering” feel by slight increases of the speed and volume of picking to emphasise certain parts of the riff even though you might just notate it as even tremolo picking.
That makes sense.
Also, it could be that higher tones are perceived as faster, while they’re really not?
In any case, I feel like I’ve found the answer already.
Thanks to all of you guys, you are great.
If I wanted to be less long-winded I guess I could have just said “sometimes you emphasise a note by giving it more volume, and sometimes you emphasise a note by giving it slightly more than its correct allowance of time”.
As a fellow black metal enthusiast who is working on tremolo picking, I’d recommend alternating between slow and fast practice like this:
The slow parts help you become aware of each pickstroke, while the occasional bursts of speed help you apply the fourth pickstroke to the riff. Start with one note, and later start using a part of the riff (e.g. one or two bars).
That’s how I’m building speed and accuracy for playing my band’s riffs: I take one bar of the riff and loop it, while throwing in a burst at the end of every second repetition to get a feel for the tempo.
Off topic, but ironic that right after Petrucci says “make sure you’re not doing anything different” he clearly uses a different motion mechanic fast than he does slow (slow looks like rotation, fast looks like wrist deviation + elbow). Thanks, CtC, I feel like I’m wearing the glasses in “They Live” sometimes. 
Hahahahahaha 
Yeah, the general consensus on CtC concerning Petrucci is that, as far as technique is concerned, he was at his peak in the 90s - all wrist. He’s been using a lot of elbow for the fast stuff for the past 20 years or so.
Good catch, the motion is indeed changing. But if by rotation you mean forearm rotation, this looks like all wrist here — he’s just switching from double escape wrist to single escape wrist. You’re right that there might be some elbow component in the faster segments, but it doesn’t look like the elbow-only thing that people have noticed him doing in recent years. At least not for the few seconds I watched.
It’s also worth noting that even though John did the fast alternate arpeggio thing on Rock Discipline, the slower speed “demonstration” motion he’s doing here doesn’t look like that. It looks bouncier, and similar to what we sometimes see in Technique Critique when players get stuck and complain of speed limit and arm tension. Which is fine — great players don’t often do the high-speed aerodynamic version of a thing when playing more slowly. It would be cool to get a closer look at his faster double escape form if he still does it.
Ok, guys, I’ve made some reference recording (just audio though) of rythm parts; I did not warm up enough to do leads as well:
Yekteniya IV RTM.mp3 (9.1 MB)
Is it “tight enough” in terms of playing? I think I hear some unwanted string noise, but I could swear I muted everything. It is quad tracked and thus difficult to control.
Taking advantage of the thread - I know this was not the main focus of the topic, but anyways - would you recommend making some changes? I am no audio engineer, no mixing/mastering done except for limiter and very basic eq, i.e. lowpass and hipass.
Playing sounds good to me, for quad tracking I reckon you could get away with a lot less gain on each individual track, it perhaps goes a bit mushy on the lower notes, and there’s a bit of unnecessary “hash” in the high end in places, for me anyway.
What’s the signal chain for each track?
On top of my head, as I’m at work now, it is like this:
and then on a guitar bus channel there’s limiter and another EQ with low shelf to reduce bass.
Mushy low end could perhaps be fixed by placing EQ before any ampsims, maybe moving hipass on middle tracks somewhere higher, if that does not help maybe trying a different boost/moving the tone knob towards highs would do the trick.
“Hash” I believe is caused by this particular choice of impulse responses - if I understand correctly what you mean - if not, the only thing I can do to get rid of it would be to cut highs and/or do an EQ sweep to cut away any unpleasant frequencies. I will have to do it anyways later on.
HyBrit does not have a lot of gain, but perhaps backing it off slightly will be reasonable thing to do.
Thanks for the tip - I will see how it works when I’m back home.
I’d also not do all four tracks with the same amp sim if you have the option of using a different one - one Marshally one and one more scoopy American voiced amp is the classic combo.
What would you recommend? Some Mesa, 5150?
I was going to use Ignite Emissary for lead guitar, but if you say rythm would do well with two distinct amps, then I’ll try it.
yeah that’s what I would go with
different impulse responses/cab models are worth playing around with too