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Thanks a lot for your comment (and for taking the time to appreciate the project's page also, I did the illustrations in the last few hours of the jam while listening to my tracks in the background to not lose time on reviewing and adjusting the mix, it was quite intense) !

It was quite an adventure to mix all the synths, drums and guitars (especially on the 3rd track with all the different layers on top of each other), so I'm glad that you enjoyed it !

And for the last track, I used the Archetype Petrucci plugin by Neural DSP , using a clean sound with a lot of reverb/delay 

(the plugins have free trials and they might be on sale for 50% off around Easter so I really recommend trying them for heavy and clean sounds). I think I used a Jazz III pick (like most of my guitar playing) to get a bright and clear attack for the track, and think I kept my guitar switch on normal mode (not Treble or Rhythm) not to get an overly light tone.

Anyway thanks a lot for listening and for your feedback, it is always appreciated !

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Thanks to you for the insight! In a way that places the vault for the secret sauce in Neural DSP's hands, but it's okay, I might try it sometime. These days I do my guitar business mostly in hardware, using the Zoom Multistomp range's amp emulations in place of real amps. I think the real solution here is to practice more guitar production. The easier solution would be just buy an amp that sounds good and mike it, but my self-destructive modular synthesis habits already hog my feeble budget.

Since I'm at it, I'll drop an actual piece of advice of my own for any third parties reading this: Possibly the biggest trick in sound design, even in guitar, is keeping a clean version of your sound in parallel with the distorted and dirtied. The opposite angle is adding a subtle parallel distortion into clean mixes

It's the secret of the Klon Centaur, of Led Zeppelin's production, and also Tekno kicks and amateur analog mixes (set up a distortion pedal send for your analog jam sessions!) Depending on use that clean sound can be saturated, compressed or reverberated, but you want to keep it clear and dynamic. The orthodox way this is usually done when recording guitar in a studio, is a Direct Input box, which splits off a line-level version to Input Directly into a mixer or recorded, and the guitar-level signal you were going to pass through three high-gain pedals and a chorus, you rascal.

If you own a Zoom Multistomp like me, you first look up how to change its effects around with a computer. Then you want to get the bass version of the distortion effects; those allow clean blending to preserve precious bass frequencies in the front. So the bass rat, the bass tube screamer, etc. Those will work like different flavours of the Klon's paradigm of saturation. 

In the DAW I've been keeping an entire mix bus dedicated to the distortion, separate from the clean kick and bass bus. I always cut the lows and lower mids on that bus. That way I can do all sorts of EQing, dynamics/volume automation, and silly effects, only on the dirt.

Very detailed, I hope somebody finds this useful.

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Very interesting piece of advice, thanks a lot for writing it out I will look into it !

I haven't dove much into recording techniques (especially analog techniques because I generally use digital techniques for jams or compositions) since I generally just plug my guitar into my audio interface and run it through plugins without looking back (since I can tweak the plugins values after recording the guitar parts to adjust the sound after making changes elsewhere), but it could make a real difference indeed I should try it out at some point !