I REALLY Wish I Figured This Out SOONER!
Vložit
- čas přidán 22. 02. 2024
- I struggled with this for DECADES, but it turns out, I had the answer staring me in the face all along. This was my breakthrough. My Eureka moment! Grab Element Bass at spectredigital.com/?sld=spect...
See the greatest gist recording trick here. • The Greatest METAL GUI...
..and of course, if you're interested in a Neve Console, check this Affiliate Link out: sweetwater.sjv.io/Gmddk6
Join the SMG Discord! Share mixes, get feedback, make better records!
/ discord
About Spectre Sound Studios:
I'm Glenn Fricker, engineer here at Spectre Sound Studios. I love making records, and after doing it for sixteen years, I want to pass on what I've learned. On my channel you can find tutorials on how to record guitar, bass, real drums and vocals. There's reviews and demos of tube amps, amp sims, drums, mics, preamps, outboard gear, Electric Guitar, Bass Guitar, and plugin effects.
We've covered Moon on the Water, played Bias FX, given you the absolute best in Stupid Musician Texts, ranted & raved about bass guitar, and this channel is where The Eagle has Landed.
Everything you've wanted to learn about recording Hard Rock & Heavy Metal can be found right here on this channel!
I also respond to your comments & questions: The best make it into the SMG Viewer's Comments series of videos. Loads of fun, lots of laughs.
Thanks for checking out my channel & please subscribe!
Saved the thumbnail for ....reasons
So it wasn't just me! There's just something about it... Can't really put my finger on it...
Flogging the dolphin.
@@mexicanmaggot666 you wish you could though
@@InnocuousInes-pe8mk Is it the chiseled body? That expression of sheer determination? The conveniently placed censorship? I'm certain it isn't the Gibson Mustaine V, that can't be it.
Beat me to it haha
Therapist: Angry nude Glenn isn’t real, it can’t hurt you
Angry nude Glenn:
I can't unsee that.😭
Possibly the most preposterous thumbnail I have ever seen... I love every bit of it
istg I thought you were THAT John Browne, but I'm still happy I found you
@@lightiskalkin I appreciate it
Guessing it's a reference to when Archimedes discovered volume displacement and ran out of his bathtub naked screaming with joy "EUREKA!" (I found it).
They freaking DEMONETIZED the video over it. What a load of crap!
dude, thats bs@@SpectreSoundStudios
Hey Glenn, old studio dog from the 80's & 90's here, I've been in the studio with a dizzying array of artists back in the day, mostly as a tech, recording hard rock and metal back when the GT-75 was king. It was common to have Marshall cabs wired up with a halo of mics all around, including ambient room mics 6' behind the cab (these were usually recorded in big rooms back then) with some mics on the cone, some on the center of t he speaker, some on the center of the cab an inch from the grille, etc., etc., then the engineer and producer would sit with the artist while they tried every combination of mics until they found the sound they are looking for. Once dialed in, that setup would stay there until the final day, in case of any re-takes. Many of the huge tones from that period of time were achieved this way. Anyway, I thought this might be useful. Thanks for all you do and keep up the good work.
Old fart here too. That doesn't surprise me. Especially since they couldn't throw it in a DAW and "gonkify" it into their automagic metal zoundsz. It took using your ears to get it right and sound the way you wanted. Musicians are so spoiled nowadays and it always surprises me when they get surprised at all the old school techniques that just work. Well shit, they "just work" because it took a LOT of work to figure out how to get them to "just work". And when you nailed it, auditory eargasms were your rewards for your hard work.
@@ThomasLoydSo true!
Very much appreciate this sort of first hand experience tips 👍👍.
Any points on how things were processed after on the board ? EQ (I learned that heavy lo passing distorted guitars around 5khz works wonders), and where to boost/cut bass and guitars
to make em sit well together ?
Studio geezer here. Back in the 80s & 90s, we got great results from T75s using SM57s and either 421s or U87s blended. If we had room, we'd put up two Marshall bottom cabs side by side with about 3 feet between them, micing one with a 57 and one with a 421 up close, and a U87 about 6' away and head-height between the cabs (sort of an isosceles triangle). Mixed the U87 in at a low level to kinda glue the other two together. Worked very nicely indeed!
you HAD to have been at the Plant or Conway. . . lol
On an older video, I told you I used t-75's,and you told me you hated them and I should invest in guitar amp software instead. You had me second guessing all my gear, when I loved how it sounded. I thought you were crazy for saying that! I'm glad you gave them another chance. They've always sounded great to me, and they play well with other speakers.
T-75s mix great with Greenbacks 🤟
Saw him make similar comments about the stock speaker in the Marshall Valvestate amps (Black Gold or whatever they were called). Yet these sound phenomenal to my ears/and recordings.
I also have been rocking the T-75s. I'm using the exact same cab as Christian. 😂
@@riangariangai prefere to mix them with V30
@@Fl4ppersSymbolic sounds great to me! 🤘
There's this sound in a 75. It's a weird ringy jangly undertone that once you hear it, you can't unhear it. When you did the null test that's all that was there. You've literally isolated that bad sound of a 75 and found out how to tell it to fuck off. This is amazing.
Everything about this video is why I love this channel. The explanation of the process and history, practicing what you preach, sharing the knowledge instead of hoarding it, the killer sounds... The thumbnail is just the cherry on top.
Same feelings here. This could have been distilled down to a 1 minute “Short”, but Glenn is funny and interesting enough I was able to subdue my ADHD and watch the whole video.
Carcass - Heartwork, In Flames - The Jester Race and At The Gates - Slaughter Of The Soul have always been at the top of my list. Such incredible synergy in sound.
I wish more info existed on the Jester Race sound. I’m guessing 2 channels on a Valvestate, another 2 with an HM-2 blended in. But that was always a guess. What speakers? I have zero idea.
perhaps the greatest thumbnail i've seen on this channel lol.
but, seriously, this is actually a cool video. never knew you could get good sound out of an old speaker that was hated when the Vintage 30 came out!
By far the best thumbnail you've ever made. That's how you CZcams!
Out of curiosity, I went and tried to replicate this on my helix.
I picked a random hi gain model and two of the t75 models on the helix (the 1960 for those who are curious) on parallel paths with the sm57 mic. When I inverted path B, it completely phased out the sound.
Changed path B to the 421 model and it had exactly the same effect here. Inverted got that nasty null sound. Both in phase gave this monstrously thick guitar sound.
Love it!
i mean, i just come here because a saw a foto of glenn runnin naked with a flying V.
So happy I saved that original thumbnail!
Memo To Self-Before you drink your morning coffee-don't look at that Thumbnail on the main page...lmao:)) Thanks Glen as always!!
Very cool.
I'm getting old enough where you see things that are old become new again.
Learned the 57/421 from doing a recording session with Rich Mouser back in the early 2000's, and that trick became my standard for guitar recordimg.
One of the challenges was always getting the heads of the two mics to be phase aligned when they were side by side mic'd up splitting the speaker/cone. We would have to shine a light to see where the actual mic capsule inside was sitting vs the windscreen. Once that was dialed, T75's, V30's etc they all sounded awesome.
I love that you are willing to share your knowledge with the world. Thank you for all you do Glen!
It's really fun to hear the differences when you change what actually matters, speakers and mic. I don't know how someone can even deny the fact. It's so fucking clear.
Isn't it great when you crack/solve a problem that you thought was never going to be cracked.
It's the greatest feeling ever. Great video as always.🖤
Glen, I am surprised, that you never thought of trying a 2 mic situation, to pull a sound out of this speaker. You have done this so many times, with speakers you like, to get a different tone.
The great thing is, you are willing to listen to others and then try something different. I am learning so much from you! Keep up the great work!!
Zakk's tone was so good on that album , one of the best ever for sure
It's way better than in Ozzmosis.
Now I know why. I guess they weren't the same sound engineer. Maybe could even be the g12-75 too.
I researched and found out:
No More Tears:
Duane Baron - producer, engineer
John Purdell - producer, engineer
Michael Bosley - engineer
Ozzmosis:
Paul Northfield
Years ago I had a mono JCM800 cab with T-75 speakers in it and it was a beast. I remember being at our jam space one time and a guy who was an ABSOLUTE 'tone snob' poked his head in the door and asked what I was playing through. I told him the cab had T-75s in it and he didn't believe me. So we opened the back, showed him and he asked me if he could borrow the cab to do some recording with it. Sadly I eventually had to sell it but it really was an amazing cab for $350.
Yep, people hate on the T75 because they read they are bad. They are metal as fuck, especially in the room. Absolutely love my T75 2X12 I’ve had for 20 years. Glad you were able to crack the code on recording them, sounds killer. 🤘🏻
i have been running G12T75 in all my cabs for years. I love these speakers live and have never had a complaint about my tone. I run a laney aor 50 watt pro lead head from the late 80'.
GLEEEEEEEN!!!!! Wanted to say thank you for all your videos over the years they have helped me and my band Neon Guillotine DRASTICALLY in getting better mixes (especially since we're recording out of our guitarist bedroom)
Your mixes really sound great these days. You could easily record a big name band imo.
Those speakers have been my secret weapon for years at this point everybody that I record usually comes to me because I have a very 1990s kind of sound with my production and I’m always been asked how I was able to do that specifically with the Guitar. I’ve just been using what was an industry standard back then and figured out how to do it well. The T75s are amazing.
I'm glad you finally got a tone to liked out of the G12-T75s, when I recorded my 1960a cab years ago I love the tone, that said they are super sensitive to mic placement and type as you've found...
Damn Glenn!!!That mix is gorgeous.Just gargantuan and lovely!!!👍
Great job, Glenn! I was watching a live broadcast of yours, a couple of months ago, when I commented in the live chat "G12-75" and you replied "Bad speaker!".
Since then I saw some recent videos on your channel where you put some thoughts about speakers, emphasizing the G12-75 as a bad gear.
I began to wonder why Marshall would insist on putting a crappy speaker in their cabinets, and why Celestion keep them in the assembly line.
For people's knowledge: G12T-75 is Greenback based (a kind of update, with much more power, according to Celestion) and V30 is The Ceramic Bulked Updated Version of the Alnico Blue.
I failed to achieve great tones in my first album recorded with them (G12T-75), for some reasons. I paired an SM-57 and an affordable Behringer C3 Condenser, but I couldn't admit I liked the C3 Behringer tone the most, and/or I was not experienced enough to blend them into a powerful tone.
Since then, 4, or 5 years later, when I was using G12-75 once again, and learned two or three things:
1-SM-57 Mic works well on G12-75 when off-axis;
2-Boosting Mids, a bit beyond usual are welcome or even necessary in the signal path, since G12-75 are kinda scooped.
3-They have a nice clean character, maybe isn't the best default speaker we can have, but it's a worthy gear.
4- They're great live, in high volume, they sound gritty in low volume, instead. Here the mid boosters can do their job, to help us to achieve the desired tone, or, at least to achieve a decent tone.
5-I realize they get smoother when old, too, but, I guess, every speaker gets smoother through the time.
Thanks, Mr. Fricker!
"Remember, this is real life, not The Force Awakens. We're not automatically great at everything." I'm fucking dead, Glenn! Thank you for that laugh, I really needed it. Keep rocking and spreading truth
Great content as always Glenn. Another informative and well executed episode. Well done!!
Fabulous guitar, bass and drum tones! Your mixes get better with each video and I increasingly find myself tuning in to your channel just for those final mixes.
Cheers from India!
When my band self produced our album for Pitch The Woo, I was running an Avatar cab loaded with a G12H30 Anniversary and a vintage 30, my recorded tone on the record was unintentionally the G12H30 recorded with a Cascade Fathead 2 ribbon mic. I was never a fan of the recorded tone of that speaker, but preferred it in combo with the vintage 30 for their combined tone. But because I derped and crossed what speaker I thought was loaded where in the cab, it became this amazing surprise with the right mic and now is my preferred tone. So to end the rambling, I agree 100% about just opening the mind and giving things a try!!
This is some of the best editing I've seen on this channel! Awesome job!
I appreciate your continued effort and experimentation, keep up the great work
Awesome video Glenn! Really enjoyed that one
OOF Love that jab at the force awakens.
Good shit Glenn! Cool video.
Great story-telling and editing on this episode, extremely well done! Also very informative.
Your image in the thumbnail of this video should be your icon from here on out! Priceless...
Great vid, Glen! Educational, Entertaining, and Informative!!!
Hey, Glenn. I'm a hobby guitarist and mainly play rhythm metal. Old Metallica, Megadeth type shit. Never recorded a thing in my life but started watching your channel and gotta say it's made the whole recording thing a little less intimidating. Thanks, bro. Keep rockin'.
I have been following for a while, and these videos are getting better too.
These videos are just brilliant Glenn! One of my favorite tones ive gotten came off a Fender 25R. I've never been able to replicate it, and never felt it was a great amp, but once in awhile I could dial it in just so. This makes me want to go find one and try again.
This really was an excellent video Glen! I have been busy and haven't watched much CZcams lately, but it looks like you are putting that new console to good use.
Thoroughly enjoyable and educational thanks Glen.....
Besides the guitars in that mix... the way the cymbals cut through without being fizzy or crazy ring-y was my favorite part. That mix has everything fitting together perfectly. Even on just my cell phone, I could hear every instrument. The cymbals were present without cutting into too much of the guitars' high-end, and even the higher end of the bass was audible.
I know you've done several videos on mixing and recording drums, but I'd love to see you revisit the subject again, because to me, nailing the kick and snare is the easiest part; everyone has discussed it, and there are plenty of tricks and techniques. But good cymbals, and making them fit in the mix properly, is the art I don't think is discussed enough, especially when adding in other instruments that want that high-mid range to express themselves, and with drummers who are slamming on the cymbals.
Well said glen, You have been an inspiration while I journey into the world of sound engineering/ Live sound engineering. Keep it coming big guy!
On CZcams is a Randy Rhodes symposium from 1982 and he says he changed his cab speakers to Altechs because the Celestions where to harsh.
Thank you so much for this awesome mic combinarion!
I finally managed to get the same tone "in the room" (with my real life Marshall 1960B cab) through IRs. For the first time I am happy with my recordings and it's awesome to actually hear my tone recorded properly.
Another solid (and hilarious) video! Made my day!
Awesome stuff, Glenn!
Heartwork is one of the greatest 90s metal albums for a reason. Well, several and one of them is that guitar sound.
^This is the truth.
Great video and killer mix, Glenn! Glad that you decided to give the T75's another shot!
On top of the Game again well done. My question to you is "Who was Keeping this Secret away from You, among the Pear groups that Knew this Answer watching you and your Studio Anguish searching for this . . . . . . Well kept secret ? Great shot in the Arm well Done Glen & Glen
Great work that's an amazing tone. Hearing the phase cancelling was fascinating. Definatley worth trying out different mics.
Dude, Glenn, this is awesome. Thank you!
That’s a trick I’ve used for years with a number of different speakers (the Beta57 works well with the 421 as well). The cool thing about the 421 is the bass roll off switch. You can use that to tailor the bottom end on a cab just enough to remove any rumble or low frequency noise. Two clicks off of “M” always seemed to work best for me but your mileage may vary.
Nice! I have a 4x10 with 75's. I also picked up a vintage Unidyne iii 57 and a vintage MD421. Can't wait to try this combo, and I'm surprised I haven't tried this combo yet!
I just tried this on my Helix and it works there too! Bravo, Glenn! Thanks for the tip
I remember you featured my comment about why I love the T75 over most speakers.
I remember my first gig with a Marshall Vintage Modern with a Marshall cab with T75 I borrowed from one of the other bands in the gig (Don't worry I'm not from the Day Glos lol), the tone I got from this setup is the best analog tone I've ever witnessed in my life! Let alone gigged with.
I especially love the T75 micd with an E906 :)
Happy you finally had the eureka moment!
Hey Glenn ! Just wanted to say that I dig the historical reference in the thumbnail BIG TIME !
Glenn, love your channel and everything you have going on here. I've been at home mixing some demos for our band and your "drums and bass first" approach a few videos back really hit the spot. I went back and remixed everything we had by doing the drums and bass first, pulled in the vocals to make sure they sounded good and stood out, then bringing up the guitars. What do you know. It sounded WAY better than my original mix and you could still hear everything.
As one of the guitar players in the band... put the ego aside. You do t have to be the loudest thing in the mix.
Just recently discovered your channel. I’m a session and touring bassist of 45 years. My latest touring gig was actually occupying James Jamerson’s seat with the Motown group The Miracles, I’ve played on hundreds of tv shows, movies and recordings. I’ve worked with some of the best engineers in the world. Our sound guy with The Miracles toured with Michael Jackson. Now I’m not into metal but I can’t tell you how many times I’ve been called upon to fix their tracks. Listen guys. What this guy is telling you is truth. Too many musicians out there simply do not possess the necessary bundle of skills to be called professional musicians. He’s telling you all like it is and most of you all really need to up your game - especially in the studio.
That tone with the X pattern’ed T75’s and the monotones sounded so damn big. I’m inexperienced completely with sound engineering, but want to get into recording now that I finally got equipment I’m happy with. Thank you, this video genuinely will help guide me in what direction I want to willingly spend my money on.
10:37 that’s insane! Whatever is being added here makes it sound so much better than one on its own. Trying this now! P.S. using those famous examples was helpful. Hopefully you don’t loose $ from doing that. Thanks Glenn!
Dude, love these videos/lessons!! I’ve been getting into the T75 too, using a modeler but… mixing a T75 with a v30 or greenback cab is pretty nice too.
For me the learning process is the fun part. Sometimes there is a lot of frustration involved but that's just a necessary part of it. This goes for everything, not just music related things.
The lesson from different mics, and the fredman tech (ultimately), is to get things going synergistically. Have 2+ signals that combine in a greater(quality)-than-sum way. That can come from any combination of different: mics, speakers, cabs, and position importantly (so: angle, distance, blob to opposite of blob, etc.). The fredman tech works because of the distance difference, and the angle difference too. But taking that knowledge allows you to massage two different signals and get the best sound. 3D IR programs like in Mikko2 or in STL AmpHub cab section, allow you to do this, without needing thousands on dynamount + cabs mics etc.
lost it at the celestion destroyer in space
I have a really old 1960A cab with those T12's, it's still my fave in any room, nice and light and scares the establishment owners. Thanks for the intel, love your channel!
Taking a guess here - what people like about the speaker is the "far field" - the sound at a distance. (No one practices with their ear pressed against the speaker.) But everyone mics speakers closely so they only get "near field". By using two mics, you're mixing two nears and getting closer to the far field sound.
I'll go out on a limb and suggest the cone itself is breaking up (vibrating differently in different spots) causing strange sounds in the near field. Only when you get some distance and all the cone vibrations add up do you get the sound you hear when playing. This speaker might be a good candidate for using another speaker as a mic (a huge diaphragm that covers the entire cone). That would allow you to mic the WHOLE speaker and not just a few inches of it.
Great vid! Glenn I’d love for u to do more stuff like this, where u take some random speakers & give us some tips on how to record them to achieve some good results. I’ve been wanting to play around with some Creambacks myself, specifically the M Creamback so I’d love some tips like that. But u could totally make that a regular thing for your channel with various speaker types 👍🏼🤘🏼
Great video! 💚🎸
Glenn! Love your channel and love all the helpful information you dish out and honesty. Question, have you ever heard a guitar tone or mix that blew you away, but finding out the amps/gear they used was something you didn't expect?
Great video! Much appreciated!
I've been micing my Recto V30 cab with an SM57 and MD421 for years now. I agree, best guitar tone I've ever had. Thanks for giving away my secret Glenn! 😂😅😂
Back in the early 90s there were a lot of guys playing those marshall cans, but guess what, at least 50% of the guys I saw playing them had replaced the Celestions, you could get some decent tones out of them, sure, but it took a lot of effort. In most cases you could see the EV logo through the cab grill lol. Biggest drawback was the weight of those ev speakers, so iny case I only replaced 2
That thumbnail is epic! Thanks for the pointers on the T75s too.
Great video, great advice
It is a reminder how much there is to know about recording, Glenn; two mics on an a guitar speaker is a technique as old as Fender Twins in Nashville. I've been recording since the late 70's, and only learned it a few years ago! We never have to stop learning, do we?
I had a 1960 with the t75, running a jcm900. I loved it. I think I spent like 700 bucks on the whole set up back in 2009. Other guitarist had an orange cab with v30s and the 900 sounded bad through that.
Great video Glenn!! Really enjoyed this one!! I’ve always wondered what a guitar cab would sound like mic’d with a sub kick mic. Think about it a 57 has a diaphragm the size of a quarter and other mics yes are larger with a slightly larger diaphragm and capturing the huge sound of a 12” speaker with a diaphragm that small always seemed kinda odd to me. Yes it works, and has been done forever, but this sub kick idea has always been my “out of the box” thinking. Cheers!!!
GLEN!!! Thank you for this. I got my current recording technique from you in possibly the video you linked here (not sure if it was the linked one or another) where you taught the Fredman technique with twin 57's... I do that now, and the difference really is night and day. Now, I cannot wait to mix in a 421 with a 57... I've seen you talk about that in other videos, and I am very gung ho to do it. Gotta get the $400 to get one though lol... thank you for this video though, and everything you've taught!
I’m a super long time viewer of your show man. I’ve left you a comment before and had you respond in Viewers Comments. I couldn’t believe it I was so excited. Pretty much everything I know about recording metal I’ve learned entirely from you. I wanted to say that I really like this format. This is by far the best video I’ve seen you post in the decade I’ve been a subscriber. This was informative and extremely entertaining with no dead space. I would really love to see more videos like this Glenn
Very cool; thanks for sharing.
Glen learning about speakers - smart! Glen standing in front of a Boeing B-17G Flying Fortress tail gun position with a Cheyenne tail turret mod - Priceless.
Thats funny, i had a marshall 1960b with t75's in it and i LOVED it, it sounded huge! In the studio in 99 i had the hardest time capturing that huge sound onto tape! I don't remember what mic we were using but i do know it was just one. This is a good one man
Awesome stuff!
Those recordings sound f-ing slammin' brother!
Now that's a sick ass tone!
Hey Glenn, love the post, and I too was at odds with my 1960b cab from marshall, bought for the same reasons you specified, and I was able to get a good tone out of it recording wise but I ended up doing 57 421 blend with styrofoam block around the cab. It isolated something, and it killed the high peaks that the 75 had (to me) and that thing moves some frickin air
Glenn, I'm so glad to hear that. I was helping a guitarist friend (back when i was still actively playing and writing) figure out a recording issue in the mid 90's with exactly this issue. I don't remember what the speakers were, but it was a 300W (4*75) kit in a noname clone of that same Marshall cab. I do know it wasn't on the expensive end. But anyway the speakers sounded AMAZING when played live, but sounded thin and nasty when they recorded... On a Shure mic that I think was an SM57.
I literally broke down my computer system and brought it over to his "studio" (parents' basement with egg crates) to record and see what we could see. Granted, this was on a home-built first generation Pentium with a Pro Audio Spectrum 16 (my choice as the cleanest recording quality available as far as off-the-shelf sound cards), but I also brought my phantom power supply and a bashed up Audio-Technica XLR mic I got second hand I used for box recording.
Speakers sound terrible on the Shure. Sounded brittle on the AT. But since I had a stereo input I rigged in both, then mono'ed the recording, and BAM! Neither mic synced with the speaker output, but the combination seemed to fill in what they missed but the ear could hear.
I admit that I overcharged him for that mic. Because it didn't go home with me. His band failed, but he went on as a solo artist after moving to Austin Texas, and is still going strong!
It is always so satisfying when you finally crack the code. Now here's to hoping that there will be people willing to listen. Also nice dig at the Disney Mary Rey Sue at the end.
Speaking of phase, I think there may a really overlooked guitar tone trick that's unexplored. That is the phasing created by very very short reflections. These happen when you put a loud amp into something like a vocal booth or other small room. But basically standing waves bouncing from the walls cancel and create that speaker style complex comb filtering effects. You can also get this by placing the amp at a wall just a few feet or inches away. I think this is way more prevalent in classic records than is explored because it's fairly common to stick amps in vocal booths. I remember watching a video of someone trying to replicate Brian May's solo tone from Bohemian Rhapsody and they got like 80% of the way there but May's tone was so clearly inside an iso booth, if they had just put their amp in a small room they would have got right there. There's lots of tone shift to be had here with just shit that's likely laying around anyway.
Huh. Today's video you really went nuts with references eh? 😂
Solid video all around
Yea dude, I remember you showing this to me and having me guess and I was like "sounds like a t75, but that cannot be right, it sounds too good."
Killer sound 🤘
glen , thanks for the advice over the years ,could you maybe do something on recording vocals and getting good results from singing to shouting style
.thanks and keep up the great work
Thanks man!!!!! You rock.
Hey Glenn. I've used the 75's and blended the 57's and E-906 and got a great result. Through a none boosted rectifier and a Randal Diablo 20