1:03 This is the first time I've ever heard a snare bottom mic sound better the snare top mic. The kick out sounds great super Bonham, and I love the sound of the floor tom on the mono overhead mic.
Haha yeah, it's a super weird drum. In some contexts, you could probably get away with only using the bottom mic! Kinda the opposite of usual. And I love that kick drum. A little while before I got this kick, I got to work on a session that had Jeff Ocheltree drum teching, and I remember thinking "these kicks sound good, but not like Bonham," but they were all 22". The first time I played this kick, it was just instantly "oh yeah, there's that Bonham sound..." There really is some magic in the 26!
Haha it gets pretty weird when tuned up...although I suppose it's pretty weird tuned low as well! Maybe I'll try that for a future video! Thanks for watching!
What would your process be for micing up a guitar amplifier all the way to a finished guitar track on a song? I'm just curious to hear how you would go about the entire undertaking I love your videos!
I've been thinking about doing an in-depth video on that, but it'll be a while before it's out, so in the meantime, here's the short version: -Until very recently, I'd just use 1 mic, usually a 57, occasionally a ribbon. -If you've got a 2x12 or 4x12 cab, test out the different speakers! Oftentimes one of them will just sound better than the others. -I usually end up with the mic just barely off the grill and maybe an inch or so away from the center of the speaker (and usually towards the little glue blobs on the speaker. That side is USUALLY a little smoother sounding than away from the blobs, although not always). -Then I fine-tune the position. I use my dyna-mount mic robot for this so I can move it around while listening to the guitar in context of the track, but you can obviously do it without a robot. Just listen in context, and if it feels too dark, move the mic a tiny bit closer to the center. If it's too bright, move it away. Just make very small changes until you find the sweet spot. -For processing, I toss on a high and low pass filter, usually starting at 90hz and 9khz, but they might move. Then usually a bit of compression, typically an la-3a style thing unless I'm going for something specific. And then they usually get a tiny bit of Soothe in the mix. -I'll typically use a different cab or a different speaker for rhythm guitars vs lead guitars to give them each their own space. -I just recently started adding in a condenser mic (sE T1) to blend with the 57. The condenser seems to fill in what I might be missing with the 57, but without making it overly thick and wooly sounding like a ribbon mic often does. I've been placing it on a different speaker from the 57 dead center (one of my favorite combos so far has been 57 on a Vintage 30 and the T1 on a Creamback). I just make sure the two mics are perfectly in phase before blending them and processing them together. Hopefully that helps for now! And keep an eye out for the video on it at some point!
@@BetterMixes I appreciate it bro! I ordered a Mesa Mark V 25 watt with a Mesa 1x12 to record with but after seeing your video and trying to record with it I kinda wish I woulda bought a entire 4x12 like I wanted too. I also use a 57 with a ribbon. I got a royer 121 2 years ago after learning a little bit about jerry finn and how he recorded guitars. Before I had a tube amplifier I used a Marshall MG 100 DFX because it was all I had. Surprisingly it sounded pretty good considering my limited knowledge of recording live instruments at the time. Thanks for responding sorry if this was a brain dump!
Oh nice! The Mark V has been on my wishlist for quite a while. A friend of mine has one that he brings over to the studio pretty often, and it sounds awesome! And yeah, 1x12s definitely have a different sound than 4x12s. That's not to say it's a worse sound, just different. I will say, though, that from my little bit of experience with the Mesa 1x12, I remember it sounding a lot "bigger" than a lot of other 1x12s. And the Royer is great! That's definitely the ribbon that I've had the best luck with when combining with a 57.
Yes! I forgot to mention that in the video. I had the Kiive distressor on the drum bus. 6:1 ratio, slow attack, fairly fast release, quite a bit of gain reduction but then blended in at somewhere around 50%
Grab the samples here: www.bettermixes.com/drumsamples
1:03 This is the first time I've ever heard a snare bottom mic sound better the snare top mic.
The kick out sounds great super Bonham, and I love the sound of the floor tom on the mono overhead mic.
Haha yeah, it's a super weird drum. In some contexts, you could probably get away with only using the bottom mic! Kinda the opposite of usual.
And I love that kick drum. A little while before I got this kick, I got to work on a session that had Jeff Ocheltree drum teching, and I remember thinking "these kicks sound good, but not like Bonham," but they were all 22". The first time I played this kick, it was just instantly "oh yeah, there's that Bonham sound..." There really is some magic in the 26!
i wanna hear that snare cranked up haha. Amazing tones!
Haha it gets pretty weird when tuned up...although I suppose it's pretty weird tuned low as well! Maybe I'll try that for a future video! Thanks for watching!
This channel is sooo cool!
Thanks so much!!!
I've just got the updates!!! They sound awsome ! Thanks a lot
Awesome! I'm glad you like them!
Dude, thats so cool! Great idea man! I love stuff like this! Great job dude!
Thanks so much! I'm glad you liked it!
Thanks for including those frequencies for us tune bot users
No problem! Thanks for watching! 🤘
What would your process be for micing up a guitar amplifier all the way to a finished guitar track on a song? I'm just curious to hear how you would go about the entire undertaking I love your videos!
I've been thinking about doing an in-depth video on that, but it'll be a while before it's out, so in the meantime, here's the short version:
-Until very recently, I'd just use 1 mic, usually a 57, occasionally a ribbon.
-If you've got a 2x12 or 4x12 cab, test out the different speakers! Oftentimes one of them will just sound better than the others.
-I usually end up with the mic just barely off the grill and maybe an inch or so away from the center of the speaker (and usually towards the little glue blobs on the speaker. That side is USUALLY a little smoother sounding than away from the blobs, although not always).
-Then I fine-tune the position. I use my dyna-mount mic robot for this so I can move it around while listening to the guitar in context of the track, but you can obviously do it without a robot. Just listen in context, and if it feels too dark, move the mic a tiny bit closer to the center. If it's too bright, move it away. Just make very small changes until you find the sweet spot.
-For processing, I toss on a high and low pass filter, usually starting at 90hz and 9khz, but they might move. Then usually a bit of compression, typically an la-3a style thing unless I'm going for something specific. And then they usually get a tiny bit of Soothe in the mix.
-I'll typically use a different cab or a different speaker for rhythm guitars vs lead guitars to give them each their own space.
-I just recently started adding in a condenser mic (sE T1) to blend with the 57. The condenser seems to fill in what I might be missing with the 57, but without making it overly thick and wooly sounding like a ribbon mic often does. I've been placing it on a different speaker from the 57 dead center (one of my favorite combos so far has been 57 on a Vintage 30 and the T1 on a Creamback). I just make sure the two mics are perfectly in phase before blending them and processing them together.
Hopefully that helps for now! And keep an eye out for the video on it at some point!
@@BetterMixes I appreciate it bro! I ordered a Mesa Mark V 25 watt with a Mesa 1x12 to record with but after seeing your video and trying to record with it I kinda wish I woulda bought a entire 4x12 like I wanted too. I also use a 57 with a ribbon. I got a royer 121 2 years ago after learning a little bit about jerry finn and how he recorded guitars. Before I had a tube amplifier I used a Marshall MG 100 DFX because it was all I had. Surprisingly it sounded pretty good considering my limited knowledge of recording live instruments at the time. Thanks for responding sorry if this was a brain dump!
Oh nice! The Mark V has been on my wishlist for quite a while. A friend of mine has one that he brings over to the studio pretty often, and it sounds awesome! And yeah, 1x12s definitely have a different sound than 4x12s. That's not to say it's a worse sound, just different. I will say, though, that from my little bit of experience with the Mesa 1x12, I remember it sounding a lot "bigger" than a lot of other 1x12s. And the Royer is great! That's definitely the ribbon that I've had the best luck with when combining with a 57.
Awesome! Have u used some processing on the drum bus? Cheer's!
Yes! I forgot to mention that in the video. I had the Kiive distressor on the drum bus. 6:1 ratio, slow attack, fairly fast release, quite a bit of gain reduction but then blended in at somewhere around 50%
@@BetterMixes thanx mate! You are a great sound engineer!
@@Axeltab Thank you so much! I really appreciate it!
That is how drums should sound. Amazing.
Thanks so much! Glad you enjoyed it!