Stereo Mayhem: Spiro Dussias on Crafting Wide Guitars with Neural DSP

Ever crank a mix and wonder how those guitars manage to sound so damn wide? We’re talking about that massive, immersive stereo spread that makes the guitars feel like they’re wrapping around your head. It’s a hallmark of modern metal, but it’s not just about panning things hard left and right. There’s an art to it, and producer Spiro Dussias has some killer techniques using Neural DSP plugins to achieve that psychoacoustic wizardry. Let’s break down how you can inject some serious stereo mayhem into your own guitar tracks.

The Core Principle: Subtle Left/Right Differences

The secret sauce to truly expansive stereo width often lies in creating subtle variations between your left and right guitar signals. Spiro Dussias describes this as an almost “psychoacoustic thing”; these minor differences trick our ears into perceiving a much larger and more engaging stereo image. And guess what? Neural DSP plugins, particularly the versatile Omega Ampworks Granophyre, are perfect tools for orchestrating these subtle sonic distinctions.

Tube Tinkering for Stereo Width with the Omega Granophyre

One of Spiro’s go-to moves with the Omega Granophyre plugin is to use different virtual power tube emulations on his left and right guitar tracks. This isn’t just random tweaking; it’s a calculated approach to sonic diversity.

EL34 on Left, 6L6 on Right (A Classic Combo)

A common pairing Spiro employs is an EL34 emulation for the left channel and a 6L6 for the right channel. This immediately introduces a degree of asymmetry that the brain loves for stereo perception.

Harmonic Variation: The Key to Width

Why does this work so well? Different tube types have distinct distortion characteristics and inherent EQ curves. For instance, EL34s are often characterized by a more pronounced, compressed midrange, sometimes described as having a “British” flavor. On the other hand, 6L6s typically offer a more scooped midrange with a fuller bottom end and a brighter top. These nuanced tonal variations between the left and right channels are fundamental to creating that wide, three-dimensional sound.

Real-World Emulation in the Box

This technique cleverly mimics what you might do in a high-end studio with physical gear – perhaps using two different boutique amps, or a single stereo amp that allows for different tube types per side. The Omega Granophyre makes this incredibly accessible within your DAW, a killer feature for adding that professional polish.

Leveraging the “Voice Switch” on the Omega

The Omega Granophyre doesn’t stop at tube swapping. Its “Voice Switch” provides another powerful layer of tonal shaping that can be exploited to further enhance stereo differences and tailor your sound.

Scooped vs. Snarling: A Tale of Two Voices

The Voice Switch offers distinct characters: the down position tends to deliver a more scooped, “hi-fi” sound, which Spiro found worked well for the song he was demonstrating. Conversely, flicking the switch to the up position unleashes a more aggressive snarl in the 1kHz to 3kHz range, really pushing the midrange forward.

Interaction with Tubes: Finding the Sweet Spot

Spiro notes that these voice settings can interact beautifully with your chosen tube types. For instance, the bottom (scooped) voice position might synergize well with an EL34, while the top (mid-pushed) position could complement the characteristics of a 6L6. However, he also found a winning combination by keeping both left and right channels on the bottom voice switch setting but using different tubes (EL34 and 6L6), which still yielded a “really nice kind of separation”. Experimentation here is key to finding what best serves your track.

Quad Tracking and Layering for Fullness (Broader Context)

While Spiro’s specific Neural DSP techniques focus on dual L/R tracks, the principle of layering for width and fullness is a broader concept in metal production. Will Putney, for example, often employs quad tracking, creating a main left/right pair of rhythm guitars and then adding a third and fourth tracked rhythm layer. These additional layers are designed to complement the main rhythms, often sitting a bit lower in the mix to add character, density, and support without overpowering the primary parts. You could easily adapt this by using slightly different Neural DSP amp settings, or even different Neural DSP plugins, for your quad layers to further enhance stereo spread and tonal complexity. Daniel Braunstein also utilizes extensive layering, especially in choruses, where each guitar part serves its own individual purpose, contributing to a massive, vibrant sound.

Cab and EQ Variations Left vs. Right

Just as you can vary the amp settings or tube types, introducing subtle differences in your cabinet choices or post-amp EQ between the left and right channels can further solidify that wide stereo image.

Different IRs or Mic Positions (A Common Trick)

While not exclusively a Neural DSP technique, the principle of using slightly different Impulse Responses (IRs) or virtual microphone positions on your left and right cabinet simulations is a well-established method for creating stereo width. Even minor variations can prevent the sound from feeling too static or “mono-in-stereo.”

EQ Tweaks within Neural DSP for Separation

Spiro Dussias demonstrates this by using slightly different EQ settings on his left and right guitar tracks, even when using the same cab sim from a Neural DSP plugin (in his case, the Mesa IIC+ Suite, which he uses for its cab and EQ sections). He mentions having “a bit more action going on with the EQ” on the left side, such as boosting 2.5kHz and cutting a bit of 4kHz, while the right side would have its own distinct adjustments. These small, targeted EQ differences can refine the focus of each side and contribute significantly to the overall stereo perception. For more on carving out space with EQ, check out our EQ hub page: Carve Your Core: EQ Strategies for Mixing Modern Metal.

Maintaining Mono Compatibility: The Acid Test

A crucial final step: while you’re busy crafting this expansive stereo masterpiece, always, always check your mix in mono. The goal is to create width that translates well across all playback systems, not width that causes elements to disappear or sound phasey and weak when summed to mono. If your wide guitars sound great in stereo but fall apart in mono, you’ve got more work to do.

Final Riffs: Go Wide or Go Home

Creating truly wide and immersive metal guitars is an art form that blends technical know-how with creative experimentation. By leveraging the subtle differences achievable with Neural DSP plugins like the Omega Ampworks Granophyre—from tube types to voice switches and targeted EQ—you can transform your guitar tracks from flat and narrow to full-blown stereo mayhem.

Ready to see how these wide guitar tones fit into a dense, professional metal mix? At Nail The Mix, you get exclusive access to multi-track sessions from massive metal albums and watch the original producers mix them from scratch, explaining every move. To deepen your understanding of modern metal production, explore our comprehensive course, Unlock Your Sound: Mixing Modern Metal Beyond Presets.