This is What we've Become
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- čas přidán 21. 03. 2024
- Evidence? Measurements? Reamps? Bah! Dude, I can TOTALLY hear the difference when I play the same thing twice. Why would anyone buy a reamp box? .....sadly, that's where we're now at.
Get Element Bass at: spectredigital.com/?sld=spect...
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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!
![Eminem - Houdini [Official Music Video]](http://i.ytimg.com/vi/22tVWwmTie8/mqdefault.jpg)
“We’re just gonna get the guitar player to redo it after you go home to make sure it’s done right”. Dang! Burn! 😂
Reminds me of Matt Tuck from Bullet for My Valentine. He said in an interview the reason why he records the bass parts himself too is because why not use the player that did the guitar parts. It only makes sense because its the same technique, same picking hand, and already knows the parts inside out. He believes this is how you get a tight bass line to glue with the guitars.
I mean it's true.
@@nienienie7567 Not really.. If its just the guitar tuned down, great. Have boring basslines then.
Jimi Hendrix did a lot of Noel Redding’s parts in the ‘60s, Dave Gilmour did a lot of Roger Waters’ parts in the ‘70s, Steve Jones in the Sex Pistols, and on and on and on.
@@armignac very true. Obviously in metal the bass follows the guitar to make it thicker. But that’s not always the case. We can all admit we love a bass player that stands out in the mix.
Chatting with a friend at a show last night. Neither of us are into metal or sound engineering and neither of us play guitar in our respective bands, but we discovered that we both love GLLEEEEENNNNNNNN 10/10 fricheks
I pretend to play guitar. I love his videos. I even got quated by him on an intro. One of my highlights.
Yeah, I sing and play bass in a rock band. I get butthurt at times due to his dismissal of bassists, especially comments like we'll get the guitarist to do it. I play guitar way better than my guitarist can play bass, but I keep telling myself that he looks at it from a metal perspective, so precision is more important than groove, feel and knowing when to change the mood of the song by modifying what you're playing.
Brilliant 😂
@@badbasictbh I see a bit of a problem in a lot of metal bands where the bass is just there to make the guitar sound fuller, and then we complain about everyone sounding the same. Sometimes you could blend the guitar with other instruments and let the bass shine on its own. And I'm a guitar player.
as a drummer i have to say a good bass player is one of the hardest things to find on this planet
For as much as Glenn goofs on Henning, if Glenn were to shave his head or Henning grew long hair, they could be twins.
Glenning
@phunniguy oh that's good. The Lex files.
😂
Wait you do know they the same person. It's the glasses. Known as the clark kent effect. Change the glasses and you dont recognise them.
You keep up the amazing work Glenn! It's primarily because of you that I never, ever cup the mic. And I've received compliments from people for being one of the few metal vocalists who holds the mic the correctly.
First gag on the bassist within 15 seconds... brutal. Crackin' vid again, dude!
Thanks for saving me a shitload of cash and pushing me to play again. I'm only a rhythm guitarist, make OSTs for animated features and gameplay for streams. Took a break from things due to shitty health issues nearly killing me a few times over the last few months. In April I find out if I'm still fucked or gonna be end-fucked or gonna get unfucked, so I'm back in practice every day until I almost stoke out just for the sakes of practicing.
So, more than cash, thanks for saving me the more precious fucking TIME! Much appreciated.
“YOUR COMMENT HAS BEEN CHOSEN FOR THR BUTTHURT OF THE” *commercial break* Every single time 😂.
Glen, Greetings from the west side of the Ambassador bridge. Not only do you make sense most of the time, but you are fucking hilarious! I don't know very much about how all this sound technology works so your channel is helping this old man to learn.
I am a bass player , and I thnk you guys should be nicer to us. We hold the groove man 😁
You can usually tell when a guitar player picks up a bass because they play it like a guitar 😄. Guitar players can be like emotionally driven children . Bass players usually possess some stoicism .
lol. I've been bass and guitar in different bands. I wish I could clone myself...because a good bass player is SO HARD to find. Most bassist I know are all about root notes, following the guitar line. NO !! hahaha !! It's VERY hard to find someone who actually learns the proper BASS lines.
Another great show Glenn, ty. I’m going to check out the guitar tone video now.
Love your show buddy, I think you are doing a great service for all audio enthusiasts. I like you learned the hard way but still have a lot to learn. Thanks man!
Priestcraft Beyond Babylon is a heck of a great book!
Hey Glen, thank you for all the content you make. Every Friday I really look forward to VC. I work sometimes 80+ hours a week and it's exhausting, your videos really are a highlight to my week. Peace and love
Great channel i purchased a Harley Benton 2x12 vertical cab love it man !
Bookmarking this one for sharing with other recording guitar players. Spot. On.
Happy to see you tackle the DI and reamp box question in more detail. I just released a video covering it which was inspired by the discussion on your video last week.
I hadn't considered the prevalence of POORLY DESIGNED instrument level inputs on audio interfaces, hah! The instrument input is basically the most important part of an interface for a guitarist, so I've always made sure to buy units with quality instrument preamps. But there are some real t*rds out there that people need to stay clear of :)
I have an amp modeler. After watching your video, I split my signal into two cabinets, each with a different microphone, in the modeler (a 429, and an SM57). You said it works in the studio. It also sounds awesome live! It opens up the tone where I can hear all the good stuff I want. Thanks G!
Instead of spending thousands of $$$ on guitars and humbucker swapping chasing tone, now I spend hundreds of $$$ on speakers chasing tone.
I still spend thousands of $$$ on guitars and humbuckers, but now I just do it for looks!🤣
The real question is, can solid state amps keep me warm AAAANNNND provide as much light as my tube amp?🤔
I'm gonna need both when winter comes back.😢
I don’t pay retail for anything anymore besides strings. Good deals come up from where I’m from. I bought a JCM 900 head for $50, an original 84 Kramer Barretta for $35 just to name a few… 😂
LOL Bro has more 💰 than he knows what to do with
Hey Glen, idea for a video. When you have other people playing guitars, bass, drums for you. What are you sending them? Guide tracks? Who's writing the songs/ riffs? I'd be interested in seeing what you send them and what they send you back.
You have excellent entertaining content and deserve to have many more views that you get.
I’m a long time guitar player, 50+ years and also have an undergraduate engineering degree with multiple graduate degrees. I certainly do enjoy your take on equipment and certain peoples views that are not based on testing.
7:36 lmfao..... You're a pro, Glenn. I never knew you could "sing" so well. Talent, man....talent.
There are hot signals in your area! I would love to see a shootout of the bedroom interfaces your viewers use for metal (as most of us can only afford one). Also your DI box video (4 years ago) had the 2i2 on par with everything else, so I haven't seen a need to buy a dedicated DI when the current interfaces get the job done.
I don’t know what was the secret sauce to this VC episode. But as a longtime consumer it was the smoothest and most “consumable” show. You’ve really put in so much work and it is showing. Kudos mofo!
Thanks for a great video as always. be safe and skilful. Pinge
I would love to see an entire in-depth video about signal chain. Doth direct into the interface only(With and without physical effects pedals), as well as with reamping and running a traditional amp. I am a noob with recording, but I got Reaper and a Scarlett 4i4 as birthday presents, and my tube amp took a crap recently, so I'm just stumbling through figuring this out. Appreciate all the tips man! Been watching 3-5 videos/day ever since I discovered the channel!
Thank's Glenn. Just in general (for everything) thank you.
Glenn, it would be awesome to see you review something like the Boss IR-2. It’s pretty affordable and pretty damn good. I personally think in 10 years, 90% of bands will be ampless
I think small amps will always be around for small, micless gigs/rehearsal spaces, but yeah, I agree. Better to invest in a couple nice powered mains and a small mixer than spending that money on one piece that's not exactly the most versatile.
Nice shirt. Great band!
Glenn, I don’t know if you see but “Metal Production” did his comparison between Dual Rectifier and 5150 and in his video the 2 heads sound more differents than your video. I don’t wanna make any youtubers war but maybe you can take a look and maybe talk about it and found how this two comparisons sound different.
After Glen’s suggestion a few years ago, I tried a DI box in front of my interface and big difference in the quality of the raw sound, which led to improved re-amped amp sound and much more balanced across different instruments.
Brilliant channel. Thank you for being honest.
I love all the detail you go into, and I love how you break it all down, and show the differences.
But, it makes me remember long, long, long ago, in my 1st band, we wanted to try and play live.
I rang the Pub owner, he said "sure, bring in a demo tape of half a dozen songs, and I'll see what you got"
A demo tape? F**K!
I rang the only place in town that did recording, "yeah, how many days will you need?", "Um, one..." I said. "No worries, $2200"...
F**K! $2200 (in 1994 for 4 18 and 19 year olds).
We didn't have that money. So, I got a tape recorder that had a mic plug in, put it in my lounge room (which was big thankfully), and the band played a song and we recorded it. We moved the amps, drum kit etc around, trying to get everything sounding level. And by accident more than skill, found a spot where the levels were good. But, it sounded like💩.
The bass player took an empty chip packet, pointed the mic straight up, and put the packet over the mic, and said "give that a shot". WTF?
So, we did, and, it, for some reason, sounded Much better. Not great, not good, but OK, good enough. So, we rewound the tape, hit record, and played 6 songs, 1 take. Demo tape done...
We were So ignorant, we nearly gave That tape to the Pub owner, out Only copy....
Young and Dumb...
But, we did get the gig, we played Live on stage for the First time. On a Wednesday night in front of 8 whole People!!! And it was F'n Awesome🤘(yeah, I was So nervous I nearly peed myself)
Oh, if only we had channels like this back then...
That's the kindest request for a subscription I've seen on CZcams. Class noted ✅️
Glenn, have you heard of the Forged in Code IRs by Ghost Note Audio? They're IRs that are not snapshots of actual speaker + mic setups, but were created completely digital. I downloaded the tester pack and I think they sound incredible!
very interesting the experiments you do on guitar tone by keeping or shifting different amps, speakers and mics, i wonder since you are in to these kind of experiments, what about to test different cabinets as for 1x12, 2x12 and 4x12, you may already have a solid idea due your field experience, but it maay be interesting hear if the cabinet/amount of speaker really make a difference on final tone.
Glenn, another IR and amp combo you should do a demo on is the Friedman IR-X. I recently purchased one and I’m enjoying the the tone and flexibility.
16:00 Great dose of wisdom, actually. Retaining the mindset of a beginner no matter how experienced you are helps you grow
Just signed up for Mixing with the Masters and they have a ton of Andy Wallace content. I’ll be diving into that!
Even though your work focuses on studio mixes, would you consider a video on live tone as well? Basics of achieving a tight sound as a full band in a live setting, adjusting tones or cab emulation to work with the venue's size, etc?
So I guess we wont be seeing a video about inlay materials effecting the tone in a mix any time soon? Totally fuckin with you.
Commented before hearing you talk about us guitarists turning ourselves up way to loud. Hey! I resemble that remark in jams...
Glenn, you are the unsung hero of the guitar/audio engineering world!
Hi Glenn, great show once again - it gets better and better 🤘🏻. I see you’re still using Reaper. Did you fix that issue you had a while back? I recently moved to Luna and I’m really enjoying it. Would you consider switching to that - its free 🙂👍🏻. Again thanks a bunch for your work. Cheers from Denmark.
What impresses me about you Glenn is that you are still willing to learn in an attempt to improve. Plus that you are always striving to improve.
Just play to relax, but I am addicted to this channel.
Hey Glenn, just wanted to say thank you for helping us save money and reminding us to experiment to make the best sounds we can with the gear we have, and spend out the money on things that will actually impact or enhance those things.
And with regards to EQ, Mic choice and technique, you can't put back what wasn't there to begin with, take the time to capture a good sound upfront and then tweak it to best suit the mix.
I had an issue with my UA Volt 2 where no matter where the gain was set I was clipping. A DI box with a pad solved it nicely. Yes, my guitar might have been hot, but until I got the Volt 2 it wasn't an issue.
DI boxes are fantastic!
GLEEEEEENNNNNN. Every time you mention the importance of a DI box, I think "make a note of that specific one he keeps mentioning, and buy that!" and I keep forgetting. Then I thought, I'd love a list of "best in class according to Glenn" products from everything to DI boxes to microphones for different uses. Can you send that out on the mailing list and I will treasure it forever? Thanks, love what you do.
He's mentioned Countryman a few times I believe. They're about $120-$250. Hope this helps.
The Warm Audio WA-DI-A is super killer. It’s $200 at Sweetwater. It’s an active DI, but it also has a passive mode, so it works for anything, and it sounds great.
Hi Glenn,
I would be interested to hear your thoughts on which elements (if any) play a significant role in the signal chain of the bass tone.
Now for guitars, I fully agree with you that things like tone wood, pickups and even amps aren't nearly as relevant to the final result as we like to think. It all gets pushed through distortion, which - as the name suggests - DISTORTS everything that has happened to the singal so far and (com)presses it into one big chunky block. So it makes sense that what ultimately matters most for your end result is what happens to this uniform brick afterwards, i.e. speaker and mic'ing.
However, with recording bass you will often see, even in a metal context, somewhat cleaner signals with less or even no distortion, or some form of parallel processing like in your Elements plugin where the bottom end remains less processed, or a DI signal mixed in along with the amp tone. Either way I would argue that - compared to a metal guitar - there is more of your original dry bass signal ending up in the final bass tone on the recording. And while speakers and microphones (real or simulated) will obviously be equally important here, my bassist brain wants to believe that at least things like the pickups (type & configuration etc) will maintain more of their character and therefore have more of an impact to my recorded tone than would be the case on guitar, but perhaps I'm just as deluded as the guitarists...
Any thoughts on this? In your experience, does it matter/do you care? Or are all basses created equal in your eyes, as long as they come into your studio with fresh strings?
Rock on, much love from Scotland 🤘
The sound is in the glands. Unfortunately I pissed my tone out the other day so I'm screwed. PS Joined the Discord. Did not know about that. Sweet.
Kool video and my two cents on tone. Helix it covers alot and I've dropped tubes
Hey Glen, I love the show! Are there noticeable differences between cabs? In a mix situation. Same speaker, same mic just different built cabs. Also, what could be some things you could do to make a cheaper cab sound better? Aside from changing speakers.
"Might as well shoot bullets at the sun." 🤣
I once heard it said: "Ask not what your country can do for you, but what you can do for your country." In other words: "The institution does not protect me, I protect the institution." God bless the United States of America."
I've been a fan of the Seismic Audio and Sound Town empty cabs lately. They're really good. I have an open back Seismic Audio 1x12 that I pair with an Orange Super Crush. I even used one of Seismic's own Quake12 speakers. It sounds KILLER.
i love joining in for weekly philosophy with glenn
Special ED bass player here. I'm sure this question has been asked a million times.
I love metal music, but does your recording tips/ plugins help with none metal genres?
Also, does some of this translate over to live sound production. I understand they are two different beasts to tame. I love all your videos. Just trying to get the most bang out of my buck.
New Priest album is awesome!! My favorite of the last 3 they put out. Would love to see Glenn evaluate the Richie Faulkner signature guitar
Hi Glenn. Love your channel. Any chance you could explain how loudness normalisation works on CZcams and how to make the recordings louder? I find myself struggling to do that even when I use a limiter or reduce the Master volume significantly. Thanks!
My lucky boxer shorts are the key to my tone.
Glennn ! Love your videos, even if I don't do straight metal, still I can learn alot ! Question on drums : Been recording live drums for 10 years, thru trial and error i've managed a decent sound. But i only have a digital interface, 16 inputs with mic preamps build in. So i record 12 mics from the drum straight thru that into my DAW. Will the sound improve if I would buy a decent board and first do moderate eq etc , and using the preamps in the board, and record those tracks, or would the result be more or less the same if I keep recording straight thru my interface, and do the same adjustments afterwards, in the box, in my DAW. Thanks !!!!
I can’t wait to buy my next tube amp!!!
I have just bought an all tube 15W Laney Super Cub 12. Great amp!
I have been thinking of going the Paul Gilbert route. A pedalboard with with preamps and DI for either PA or a backline straight to return of the Loop. I have a lot of pre and post EQs and a Revv G3 and G4 preamp(and G8) and I kinda just want to use that and not worry about tube amps.... plus my Orange Rockerverb100 MKII, Dark Terror and 1980 PV Classic 50 VT kinda cover many areas and I can go to power amp from board and just bypass the Orange Preamp for the Revv pedal preamps. Thoughts you sexy bastard?
Glenn you’re awesome
I would have never thought that 2 amp heads would sound so similar, but I never compared amps on the exact same signal chain. Fun fact nevertheless is that I owned over 30 years just 1 amp head and 3 different cabs with at least 6 different speakers on them. Not that I was convinced that the sound was basically in the speaker, I just liked how the amp sounded, and changing cabs and speakers gave me a lot of tonal differences.
The amp is a Mesa boogie Mark III I got very cheap when the Mark IV came out
I’m a bass player and do my best to get my lines right so personally my ego is shattered 😂 but all I hear from bands I’ve jammed with bash other dudes for not being able to play consistently. I think a lot of bass players think they can come in without practicing at home and expect to play their music perfectly. Anyways, good show, great explanation on room sound vs. mic sound when playing through a real amp!
Doesn't help that modern metal tunings are so damn low the bass is barely audible even before getting buried in the mix. Not much incentive for bads players to give a fuck.
Same. I've taken a lot of gigs from people for this reason. They usually surprised when I show up prepared. Lots of bass players don't care...and I'm all for it. I'm happy taking their gigs.
I am the only one that loves how Glenn pronounces “out” ?? I watch the show waiting for it 😂😂😂
Hi, Glenn. You mentioned audiobooks. Could you do something about recording them? Like, what would be ideal, what would be minimal good gear required? What mic, acoustic treatment would you recommend? Stuff like that. Podcaster could use this knowledge too, I think.
I think you hit the nail on the head with a lot of what you say. I play bass (and guitar) and when I used to gig in the 80's and 90's, I always preferred using a DI. Let me play and let the sound guy nail the tone in the mix. What sounds good on stage don't necessarily sound good 30 feet in front of the stage. And as far as practice, so many people practice with a heavily scooped sound that in a "real" band situation just sounds like mud.
On a different note, if you want an interesting book, check out "Accessory to War" by Neil deGrasse Tyson.
I don't gig or even jam with friends anymore, so I would LOVE to go entirely ITB and unload all these amps and cabs and pedals while there's still some semblance of a used market, but I cannot for the life of me get an even remotely acceptable sound using amp sims. Yes, I've checked/swapped out/etc the strings, pickups, cables, DI boxes, interface, headroom, gain staging, input level, monitors, room issues, etc and even with a sim's bass turned all the way down and treble all the way up my Strat bridge pickup sounds like the neck humbucker on a jazz archtop with the tone knob rolled off and two different cab IRs accidentally running at the same time. 😆 It's incredibly frustrating to say the least.
I agree, I always think I want an ampless setup until I am reminded of the annoying processed sound of digital modeling. And, yes, such a frustrating hassle for an unsatisfying tone. The buzzy midrange, ugh!!!! Give me my Marshall JCM 2000 50watt head and a 4x12 cab any day!!!
So about reamping, my band finally got around to reamping out guitars for our album, and we used the Radial X-amp, only to discover that it was horrible. The signal was so quiet that we had to run it through two overdrives just to get it close to the signal strength of a guitar directly. Then once we did that it was so horrendously noisy that it was unusable. Also, for some reason it cut out so much of the lows and highs and left only mids. Then we tried just going direct from the interface and it wasn't perfect, but it sounded 10x better. That's what we're doing because the album took so long that now it's too late to return the radial.
There has to be user error involved at some point because I see nothing but good reviews about it online. Did you reach out to their customer service?
I’ve watched a couple videos from CZcamsrs who took issue with your episode regarding the 5150/Mesa boogie sounding the same… I’d love a rebuttal!
Let me know if they take reamps & frequency response graphs.
@@SpectreSoundStudios They actually do, check out the channels Metalhead Productions and Kaddy's Jam Kave. And personally I have to say, that those amps indeed sounds vastly different. I guess you can get a 5150 and a dual rec to sound similar via the Tonestack, maybe thats what you did in your video. But try to get a dual rec sound and behave like a bloated plexi or an top boosted AC30, that just won't work. Totally different beasts.
@@SpectreSoundStudios czcams.com/video/5HH5UYTKsV0/video.htmlsi=OtRFf6zySfKSiNJ5
10:57 I found that plectrums can have a noticable effect though, compare something like a jazz 3 or a flow to a .73 tortex
This is the second video of yours I have watched and am already shamed into subscribing
i bought a cheap DI awhile ago but would like a better one, the countryman 85 and signal arts ones are not available, what would you suggest Glen? Also keep up the great work
Glenn, you recently said that you should pick a mic & position for good sound, without EQ, and prefer to only do little tweaks with EQ, because EQ causes phase shifts. THAT IS MOSTLY A MYTH. Yes, EQ does introduce phase shifts, but the kind of EQ you use to make one mic sound more like another only introduces small shifts similar to the ones that mics produce anyway due to their physical design. For example, rolling off the highs a few db to make a brighter mic sound like a darker one has a very similar effect on the signal to actually having a more massive diaphragm that naturally rolls off the highs by resisting small fast motions. (When mass resists small fast motions and acts as a low-pass filter, that also introduces a phase shift just like the one you get by doing it electronically.) The analogies between the effects of physical properties and the effects of EQ circuits are so close that papers in engineering journals often describe the physics of mics and speakers in terms of "equivalent circuits" using resistors, capacitors, and inductors, so that people can calculate the impulse and frequency response properties. THERE IS NO SUCH THING AS THE NATURAL SOUND OF A MIC WITHOUT EQ, because A MIC IS AN EQ DEVICE. If you make modest, gentle adjustments to the overall frequency response curve with no sharp notches or knees, like adding or subtracting a few dB over a half octave or more, the phase shifts introduced are small (single digit or low tens of degrees) and generally quite inaudible.
In the audiophile world decades ago, people were obsessed with phase shifts and not using tone controls. That nonsense was pretty well debunked and people have come to embrace things like active EQ circuits in very high end speakers. Unfortunately, a lot of people in the recording world never got the memo and still believe the myth that using tone controls introduces bad phase shifts that do terrible things to your impulse response.
For close-miking, on-axis purposes you CAN very often EQ one good mic to sound MUCH more like another, because in terms of the on-axis sound they each act as a pretty good approximation of a "minimum phase" EQ circuit, and modest application of normal minimum phase EQ to one makes not just the frequency response more similar, but the phase response too. Correcting the frequency response corrects the phase shift too.
Off-axis sound is a different story, and mics with different polar patterns and off-axis frequency response can't simply be EQ'd to be more similar, because you need to EQ the off-axis sound differently from the on-axis sound. So if you're recording in a live room where the ambient sound is significant, or dealing with multiple instruments arrayed in stereo, or off-axis bleed in multi-mic drum setup, things get harder. (The Townsend Sphere mic & plug in can often do a pretty decent job of that because it captures the sound hitting the front and back of the mic separately and can EQ them differently.)
Emulators using IRs are mostly just fancy tone controls... the audible effects are mostly due not to the impulse response per se, but to the effects the impulse response has on the frequency response.
These would be great things to test. How well CAN you emulate one mic with another, on-axis and up close? As long as both mics are reasonably good, you should be able to do a shockingly good job with just proper EQ. (BTW, check out Julian Krause's videos on EQing an SM57 and an XM8500 to sound very much like an SM7b. Can you hear a difference? That sort of thing would make a great blind test like the other ones you do.)
Using REW, you can measure and determine the frequency response of mics well enough for this without an anechoic chamber or even a calibrated measurement mic. (Uncalibrated measurements won't tell you which mic is flatter, but they'll tell where they differ, and how to make one sound more like the other, as with Jim Lill using an SM-57 as "flat". You can get a calibrated mic for way under $100, though, so why not get some absolute measurements? Like a reamp box, a calibrated mic is very useful for actually comparing things fairly and objectively.)
Similarly, it would be a good to test how much difference speakers actually make even if you don't match them using IRs, but do use, say, a 5-band parametric EQ to fix the biggest differences in their FR curves.
EDITED TO ADD: BTW I'm not saying mic position isn't important. It is, but not because it's bad to EQ mics. For one example, you can use proximity effect to differently-EQ the direct sound and the reverberant sound. If you don't like the bass response of your poorly-treated room due to room modes, close-miking lets you emphasize the bass in the on-axis sound. When you then reduce that with EQ, you also reduce the bad room sound. (It's a form of pre-emphasis / de-emphasis noise reduction.) Another example is when the reverberant sound of your mic sounds weird due to its off-axis response being different from off-axis. If you point the mic off-axis from the source, you're making the FR relative to the source more similar to the reverberant sound, which is mostly off-axis. Once you get the reverberant sound to sound the way you want RELATIVE TO the direct sound from the source, you can use EQ to get the overall FR you want without making the reverberation sound wrong.
Gheeze I've been working as a PA/Monitor engineer for +40 years and I still try out new things if I have the opportunity. But I would say that there is one thing i can always rely on and that is the Shure SM57! I always use it on snaredrum and preferably on guitar although on guitars I can use other microphones depending on the stage setup. If the main desk is analog there are usually less access to gates and compressors then you really need to use the correct microphones since the spill is of outmost importance. Great videos Glenn I'm learning alot especially about high gain applications which can be tricky! But here's a question for you! How do you make the guitarist to turn down their distortion levels? Might sound ok to them on stage but thru the PA it sounds like a hornets nest being hit and no amount of eq:ing or mike placement helps!
IK Multimedia Axe I/O One is an audio interface with a dedicated reamp output and it only costs 129 bucks. Also made to work with ToneX for modeling your rig.
I bought a focusrite 2i2 to put between my amp sim pedal and my headphone amp. IT TOTALLY CHANGED THE TONE. Why didn't you tell me this earlier glenn?
09:46 I'd pay for an IR pack from your company, Glenn! Last I checked there aren't any for sale, which was surprising.
Glen, have you seen Tokyo Vice? Cool show
Have you ever tried to use a flat measurement mic for micing up guitar cabinets? I really would like to hear what it sounds like when we have the mic characteristics out of the equation. In the end these characteristics are nothing more than a glorified eq curve that we could theoretically also apply afterwards in software, aren't they?
Have a good one Glenn!
I actually went to a Gretchen Parlato show where the opening act was a guitarist/singer on stage, alone, without looper...was long.
The second gen Scarlett had the DI issue too. I had one and I specifically bought a second gen because I knew about the issue with the first gen. I actually just got a UA volt 1 because I had to use the line level input on the Scarlett solo gen 2 to record at a level that wasn't way too high. Just thought I'd inform people.
I know that you might not see this Glenn, but there are some people saying you messed with the EQ on you Dual Rec Vs. 5150. Kaddy and a couple of others have uploaded videos and they all show a sizable difference in pure amp tone with the same set of speakers. Thoughts?
GLLLEEEEENNNNNNN!!!! i have to thank you for your advice. I purchased the Bogren one knob plugin after watching your videos on it. And it has seriously improved my tone, without the need for me to buy a bunch of expensive shit and learn to master using it all. I now have a great tone and can focus on what i actually love doing : writing music. Its wild, you didnt make any money off it. Its almost like you are just trying to suggest better options for people to help them get great results at less cost.
Right I experienced that too G’🤘
Hey Glenn, I really had no idea about how much speaker selection affects tone until I watched your videos that proved it. I also saw a video where Ben Eller was playing the VH 5150 riff through a Marshall 1987 amp into an Ox. The only thing he changed was the speaker on the Ox, and it sounded completely different though Creambacks, Greenbacks and Vee 30's. Now that I am not going down the new guitar rabbit hole or the new amp rabbit hole anymore, what would you suggest for someone who can't get an Ox yet? Do I go down the IR rabbit hole? Speaking of which, is it worth it to look at DSR's? Does a DSR really "reflect the attitude" of a particular speaker?
Hey Glenn, something that has been on my mind recently is digital reverbs and if hardware digital reverbs are worth buying anymore when there are so many great plug ins. Since both are just running algorithems, are the algorithems in hardware really $3k or $4k better than a plug in, or is there really something happening in those boxes that I don't understand to drastically affect the tone and spatial response?
Just because me and a lot of others are not fond of parting with cash, is there a good quality alternative to the sennheiser md 421 for less money?
my movie recommendation is Fish Story directed by Yoshihiro Nakamura released in 2009
it's about a Japanese punk rock band
GLLEEEEEENNNNN! I have a Darkglass Alpha Omege with 2 normal outputs, and a parallel output? Can I use one of these as my DI signal or am I better off getting a dedicated DI?
Hey Glen can you do a “how to dial in a couple great bass tones with free plugins” I’ve been trying to get a great tone to go with my guitar for recording. But every time I look up a video on how to dial in a tone it’s always that super cranky “Metal” bass tone (I like bass tones that have some distortion and are articulate for finger style players) but with mine it’s either a to low end focused (which yes I know makes the guitars sound fat as hell) Or it’s not fat enough. I’m trying to find the middle ground so that my tone sounds fat but has good note definition so that way you can tell what note im playing. thank you it would be very much appreciated.
P.S. I use both finger style and a pick depending on what I feel the song calls for. So a tone for pick and a tone for finger style would be greatly appreciated. Thank you so much glorious recording god🤘
Ahoy! You've been going on about making your videos better and I've got to say that I really like your product. I just got my first home computer, can I get a decent di box and instrument mic for $300?
Hey Glenn, love the show. Honestly I gotta say I used to hate the "Les Paul is just a coffee table" joke cause my first guitar was a suped up Epiphone my uncle got me and I have loved ever since. Unfortunately, after playing a dean ML for the better half of a year or so I picked up my Les Paul only to realize you're absolutely right... I still love it and it sounds amazing but if it had 4 legs it would be perfect for my living room 😂
1.0.4 of Element bass renderes the plugin totally awesome now, with eash update making improvements that are actually noticable! It's stable and works beautifully. It's always sounded good but the bugs it released with were annoying, as these things go... but the support has been awesome and I'm happy to have been able to help troubleshoot some issues. I encourage anyone thinking of getting it to just buy it. It's really worth it. Some more factory presets would be good though. They feel a lbit light on - especially for someone like me without the confidence to know what is a good starting point. Maybe in some future updates. Anyway... Element Bass - get it.
Gotta agree with the music recommendation. I've been listening to Invincible Shield a lot. So many great hooks, and Richie has been one of my favorite guitar players lately. You have to be technically good to fill the shoes of Tipton and Downing on the old material live, but he isn't just trying to be a copy of them. And how the hell does Rob still sound that good?
hi glen, I love your channel, thank you for doing a great work. I saw a video where unboxed Harley Benton headless but i didn't find a review, did you like it? I'm kind of thinking buying headless and selling a full sized one since I will have to move around from time to time and I don't want to break a bank for strandberg. What do you think about EART hedless or Mooer GTRS? Thanks!
instead of expensive di box, just use any boss stomp box. The buffer inside is good enough to reamp through it.
That part around guitar tone in a mix is huge. The amount of times I've now heard an isolated track from a mix I liked just to think to myself that guitar tone sound horrid is a number I can't count. It makes me think of all the times I was a bit early to band practice and dialed in a tone I loved, just to have the rest of the band show up and all the sudden I'm tweaking out the bass and pushing the treble. What sounds good isolated will likely not sound good in a mix (unless your ears are adjusted to it, sadly my ears are still stupid and never seem to learn)?