A huge live guitar sound is not about being louder. It’s about sounding wider, deeper, and more “mixed” while keeping the attack and note definition that makes a guitar feel real.
The most reliable way to get there is layering: keep a solid core tone, then add one or two parallel layers that do specific jobs.
With SubPro, you can take that further by layering groups of strings instead of processing the whole guitar at once. That keeps things clear, makes doubling more convincing, and stops the usual live problems where effects smear chords or swallow your picking.
SubPro can be configured toward more outputs (up to four in some builds), but this guide uses the most practical setup: two outputs.
What “massive” actually means live
A guitar sounds massive when it has:
An anchor: a dry-ish core sound with punch and midrange
Width: a subtle double that makes it feel like more than one source
Depth: thickness and space that sits behind the notes instead of on top of them
Most pedalboards fail because they try to get width and depth by putting everything on the same signal. That works in headphones, then collapses on stage.
The fix is simple: keep your core intact, and layer enhancements in parallel.
Why string-group layering works better than a normal split
A standard ABY split duplicates your whole guitar signal. If you put doubling, modulation, or ambience on that, it affects everything, including the part of your tone that should stay direct and punchy.
SubPro is different because it can isolate groups of strings and route them to separate outputs. That lets you:
keep the core tone stable on your normal pickups
put “double” and “width” mainly on higher strings where it sounds natural
add controlled depth on lower strings without turning your mix to mush
This is basically a studio trick, but playable live.
The simple cabling setup
You are building a three-lane rig:
Lane 1
Normal pickups output
↓
your usual pedals
↓
amp (core tone)
Lane 2
SubPro Output A
↓
Layer chain A
Lane 3
SubPro Output B
↓
Layer chain B
Once you have two extra 1/4" outputs from SubPro, everything else is normal guitar cabling.
Forexact cabling information ceheck out this blog post. stringshttps://www.submarinepickup.com/blogs/how-to/how-to-put-different-effects-on-different-guitar-strings
Step 1: Choose a string grouping
Start with the most dependable live grouping:
High vs low split
SubPro Output A: E A D (low strings)
SubPro Output B: G B E (high strings)
Why this is the best starting point: the things that create “massive” (doubling, shimmer, width) usually work best on higher strings, while the things that ruin clarity (too much ambience, too much low-mid buildup) usually start on the lows.
If you do nothing else, this split will already make your effects behave more predictably.
Step 2: Build your core tone (normal pickups)
Your normal pickups are the anchor. Keep it simple and confident.
This is where your main drive sound usually lives
If you use compression, keep it subtle
The core should sound complete on its own
A good test: if you mute both layers mid-song, you should still sound like a finished guitar sound, not a missing puzzle piece.
Step 3: Add the “Double Layer” (high strings)
This is the “two guitars” illusion. It should add width and size without sounding like an obvious effect.
SubPro Output B (G B E)
↓
Double layer chain
↓
destination
Option A: Micro-detune double (most realistic)
This is the most believable live “doubling” sound.
Micro pitch / detune (subtle)
Optional light chorus (slow, low depth)
Optional very short delay
What it does: makes the top of your guitar feel like two performances sitting together, while your core tone stays direct.
Option B: Short-delay double (more obvious, still usable)
Short delay as a slap or tiny offset
High-pass EQ after the delay
What it does: creates a sense of space and width around the notes without you needing more gain.
Important: high-pass this layer. Your double layer should be “air and width,” not extra low mids.
Step 4: Add the “Depth Layer” (low strings)
This layer makes the guitar feel bigger behind the notes. The key is control. Low strings are where “massive” turns into “mud” if you are careless.
SubPro Output A (E A D)
↓
Depth layer chain
↓
destination
Pick one depth flavour:
Flavour 1: Tight thickness (great for rock and rhythm)
Mild saturation or preamp-style drive
Light compression
Low-pass or gentle EQ to tame fizz
What it does: adds density under your core tone without blurring your pick attack.
Flavour 2: Dark space (depth without soup)
Reverb or delay, but kept darker and quieter
Low-pass or reduced tone/brightness
Avoid long, bright tails on low strings
What it does: gives the “back of the room” feeling without washing out the band.
Rule worth remembering: bright reverb on low strings is the fastest route to a messy live sound.
Where to send the layers live
There are three practical routing options:
Option 1: Everything to your amp rig
Works well if you run stereo amps or have a reliable way to blend.
Option 2: Core to amp, layers to FOH
Often the best live result:
your amp gives you punch and feel
FOH blends width and depth for the room
Option 3: One layer to amp, one layer to FOH
If you want some “produced” sound out front while keeping your stage rig simple.
Make it playable: “massive on demand” with minimal footwork
You do not want tap dancing. You want one or two moves that matter.
A practical control approach:
Core tone stays on
Put a single foot control on the Double layer (mute or level)
Put a single foot control on the Depth layer (mute or level)
Use it like this:
Verse: core only, or a tiny double
Chorus: double layer up
Big moment: double plus depth
Quick checklist: huge but clear
If it is not working, this checklist fixes most rigs:
Core tone is the loudest and most mid-forward element
Doubling lives mainly on higher strings
Depth lives mainly on lower strings and is filtered or darkened
Layers are quieter than you think, but change the shape of the sound
If it gets messy, reduce low mids in the layers, not in the core
Related problems SubPro can help with
This same string-group layering approach can also help with:
octave effects that glitch
wet/dry rigs that keep attack intact
shimmer that stays musical live
fuzz that stays clear on chords
recording separate layers for reamping later
Those are their own guides which we will visit in the near future, but the principle is the same: isolate roles, then layer.
