The sound of the distorted electric guitar is particularly important for many metal music genres. It contributes to the music’s perception of heaviness, serves as a distinguishing marker, and is crucial for the power of productions. This article aims at extending the research on the distorted metal guitar and on metal music production by combining both fields of interest. By the means of isolated guitar tracks of original metal recordings, ten tracks in each of the last five decades served as sample for a historical analysis of metal guitar aesthetics including the aspects tuning, loudness, layering and spectral composition. Building upon this insight, an experimental analysis of 287 guitar recordings explored the effectiveness and effect of metal guitar production techniques. The article attempts to provide an empirical ground of the acoustics of metal guitar production in order to extend the still rare practice-based research and metal-oriented production manuals.
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- Department of History, English, Linguistics and Music - Senior Lecturer
- School of Music, Humanities and Media
- Centre for Music, Culture and Identity - Director