well its just utterly impossible to get the same exact wave when doubling with live instruments so yeah you'll hear that fuller sound
you can also duplicate a track and add effects to the duplicate or run it through a different amp or effects processor to do make-it-yourself doubling
which is especially good during the mixdown process when you realize the song could really use it and you no longer have the artist around to do it
and what wayne was talking about was how good Craig was at doubling
you usually need to take 467816372 takes of a doubled track because the vocalist/musician will fuck up or go off time
and if they end up off 10 ms in a few sections (especially with guitars) you run the risk of getting some partial phase cancellation that will give those parts a flange effect that you don't want
its really REALLY interesting the way he goes about things
I look forward to having a few long discussions with co workers about it and trying out some of that stuff
especially how he can do it without too much trouble with phase cancellation
when he was describing the setups I was thinking "how the hell does he pull that off? he must have to switch a ton of stuff" and then he said what he did about not much phase cancellation and then he mentioned how ProTools doesn't have a phase switch on the channels....that drives me crazy as well when it comes to drums and session guitars
and the use of ribbon mics!
oh and him mentioning how Craig uses digital distortion to his advantage
hes like the second coming of Trent Reznor
oh and I'm known for making lots of animal noises in the studio as well and "adding monkey to tracks" without the artists' knowing
and also for falling off and over chairs