But they're packed with "SONIC POSSIBILITIES!" lol
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- เผยแพร่เมื่อ 5 ก.ค. 2024
- Has technology advanced enough so pickups are the main deciding factor in a solidbody electric?
The Spectre Digital Summer Slam Super Sale ends TOMORROW NIGHT!: spectredigital.com/summer-sla...
“Packed with sonic possibilities.” So is my 5 year old.
As a father of a 5yold also, I approve this message 😂
I thoroughly enjoy playing to a metronome. It is refreshing to actually play a song at the right tempo and not speed up to 350 bpm out of nowhere.
More fun with drum loops. :)
I use drum tracks for this. More... realistic, so to speak. Then again, my practice methods aren't cor everyone, as I'm 100% self taught. So take what I say/suggest with a bag of salt lol
Absolutely. My band also plays with a click live and I seriously will never go on without it. Everyone is tight, on time, and it's just great. We also automate our kempers become of that too. It is the best!
I like tuning up and playing with a song recording, I find metronome grating. Witch is too bad, cuz they are great.
I feel pretty confident without it I’m decently on time don’t get me wrong I have my moments but the click annoys the hell outta me
I really just play to the song
Beck: Mongolian Chop Squad
had to go looking.
Thank you! I didn't understand what it was called.
It's a few years old and super great
I finished the manga last month lol. I totally wasn't expecting Glenn to recc it today.
@@DatBoi-du7eo He's been recommending it for years, he actually recorded a cover of Moon Over Water a long time ago.
God I haven't heard this name since high school.
I can’t believe Glenn thinks that the best way to tell the quality of the amp is by listening to it. Lol.
Obviously the only thing that matters is what you can see with your eyes. Glenn’s doing the classic Dunning-Krueger bit
;)
I mean, if your only criteria for quality is the tone thats fine, but if youre traveling with a tube amp, you should be just as concerned at the build quality. If its gonna sit at home though or in a studio literally the only thing that matters is the tone.
I used to Quad track, now i triple track, with the third track up the middle, more buzzsaw-ey in the tone, and tucked under the L/R main rhythms tones. The key is track them all. Three tracks, played three times! If you must edit, tracking a guitar every 8 bars, and sewing them together, you STILL need three completely separate takes!
ELE; Glenn, i don’t use your presets, because i feel the cymbals are very harsh! I’ve taken the kit, and designed my own, and i recommend this to everyone using midi drums! The other thing i HIGHLY suggest, is listen to drummers. All kinds of drummers. Listen to how they hit. Not everything needs to be 127 velocity!! And, write your own beats, so they make the rhythm section tight. Take time to learn how to program triplets. Quads. Rolls. Flams. Rimshots. And lastly, double kick beats- take the velocity down on those kicks, and you’ll find the drums shine better!
It has taken me years, AND getting ELE to get my drums to evolve. There is nothing better than a midi kit that actually sounds like heavy drums!
Cheers to all- check out how i use ELE, Element, Neural DSP, logic, slate, waves, and SSL plugins on my newest track, “noodle Shop” currently on every streaming service!!
open.spotify.com/track/3DVKu5sRgyRhJVdw4XojhO?si=U2AK_uwiSvqjdeWMWGXO3A&context=spotify%3Aartist%3A5XcZASMVHohMueHq1Xitp5
You listened to Dirt by Alice chains lately, didn't you ?
So Chuck Schillings left a nasty comment to Glenn and he replied he's doing a investigative video to see if his parents are really brother and sister oh man this comeback killed me😂👊
Here's a neat trick for getting feedback at reasonable volumes in the control room (as stolen from Sylvia Massey): get yourself a DOD 240 passive resistance mixer (shouldn't cost you more that $50 on Reverb). Use it backwards - to split your guitar's output into multiple outputs. Run 1 output to your regular amp, and run another output to a small practice amp (I use one of those toy Marshall amps that runs on a 9 volt battery) . You keep the toy amp fairly close to your guitar and set it for really high gain - but do NOT mic it up - that amp becomes what triggers the feedback - and it doesn't really get that deafeningly loud. Then, in another room, you DO mic up the speaker cab to your regular amp; now the feedback you generate will the cranked out little practice amp will also travel through your regular guitar rig as well. The cool thing about this approach is that you can have your regular amp on any gain or EQ setting you want - and it will still feed back like it's completely dimed; even if it's a clean signal. In fact, clean settings can be really wild - it sounds a lot like an e-bow. You can even do this with electric\acoustic instruments with very cool results. David Gilmour used this trick a lot on "The Division Bell" (specifically during the song "Take It Back".)
A word about United Audio products: THEY ROCK! In addition to a great reamp box, their Fet 47 and U87 clones are excellent microphones by any yardstick...especially at their price point.
I saw this in a music play about queen, the guitar player had a microcube and sometimes he literally put the guitar inches from the thing. really effective and the audience couldn't hear the micro amp
Cool trick!
That can also be done with any ABY, amp splitter, or any pedal with a "stereo" output..
@@FerutElCampeador That thing is the mysterious deacy amp.
Richard Kaplan formerly of indigo ranch (korn, sepultura,slipknot, limp bizkit etc) did a trick at least with Korn where he mixed in a small like, 10W amp in with the usual Marshall JCMs and Mesas they used for the first 2 albums they did at indigo.
Mr. Kaplan would run that little 10W amp all the way up and had it sitting in an alcove hidden away. Unironically it makes a lot of sense to use that mixed in. Since a high gain amp like a mesa dual or triple has very little natural breakup at low volumes. Usually the less output (think 50W vs 150W) it's MYCH easier to get natural breakup/feedback because you are pushing the hell out of those little circuits. Lol
love the "helpful glenn". however, never get rid of butthurt of the week.
Hey glen, i just wanted to thank you so much man for answering my questions, that was truly cool that you did that, and that ment alot.
My best wishes and support always go to you and the SMG community.
The DigiTech Freq Out pedal will allow you to achieve feedback in a digital (non-amp) signal chain. There are multiple settings so it can be tailored to most tastes.
The HX One has a feedbacker effect (among other things of course) that is also really cool. I love it on my Stomp, nut it eats up half the DSP in the Stomp lol.
The Forever War is AWESOME -- my favorite book of all time, legit.
I also first read it in high school, and years later when I was in the USN, I read it again while deployed on a fast attack submarine. That book was a completely different read under those circumstances -- being underwater for weeks at a time has a lot in common with what one would expect from interstellar travel (minus the time dilation, thankfully).
You probably already know this Glenn, but Joe Haldeman served in Vietnam, got injured and received a Purple Heart. A lot of his experience with being wounded in a military hospital comes out in the chapter where Mandella loses a limb (can't remember if arm or leg) in that drop ship crash.
Thanks for spreading Haldeman's gospel, and thanks for a killer video as always!
The book has really interesting comic book interpretation (can't really say what are the differencies between the comic and the actual book). I was a kid when I read the comic and it blew my (too young for that shit) mind.
thanks for the tip about Kaiju No. 8!!! Great one!!!
100% agree on the HB cabs. They are very useful platforms for getting a lot of speaker options.
You can buy one of the V30/Greenback/etc cabs and then sell the speaker and get the speaker you want and the total cost will be comically low. Thomann basically sells the cabs at around the speaker costs so even if you get “dinged” into having to sell the speakers as “used,” you can effectively get the speakers you want for “half price.”
I pulled the V30’s out of mine and installed a WGS invader and retro 30. Debating on getting another cab since they do sell unloaded cabs and installing a pair of mojotone watchtower speakers.
The Forever War was clearly a response to Starship Troopers where the author felt Heinlein glorified war too much. The Forever War on the other hand deals with gritty horrors of war and the toll it takes on the soldiers.
For the guy that asked about feedback. Another solution is you could run a sine wave through the amp sim you’re using and fade it in. Creates a very similar sound to feedback and sounds pretty cool too
For creating feedback without destroying eardrums: The FreQout! If you have a helix they modeled it a few updates ago as well.
There is an IR pack from Karl Sanders of Nile and he talks about how he uses a Greenback loaded cab for his rhythm tracks and then a V30 loaded cab for leads. Seems to work for him.
Gleeeeeen please help! Trying to buy the summer slam deal, but I won’t give me an option to do it in 4 payments. Is it because I’m in Canada?
Oh my Hylia, a bass cab shoutouts !! I'm looking forward to that.
I like it when you're a sarcastic bastard. 😂
When people ask about cabinets they should state for which usage.
The HB 212 Plus is fine on the road too though, but get at least a fitting cover for that purpose, since the tolex used on them is rather thin, or just ripp it off and paint it with DuraTex or some other durable speaker paint and still use a cover for transport.
Thomann sells them as empty cabs too, for those who want other speakers in them.
Yep feedback using amp sims is easy, and you don’t need ear bleeding levels to do it. A reasonably loud but comfortable level will do. You will need to pipe the output (like master out or a subgroup) into a recording audio track. Just make sure the recording track is not routed to any output, otherwise you’ll get feedback alright, just not the type you want.
Hey Glen, I was wondering how often you change guitar/bass strings when tracking. I’m not an engineer or anything, just curious. I’ve always heard that you need fresh strings, but I’m curious about at what point a set of strings loses enough brightness to warrant a change.
Thanks, Glenn! Learned something new today. Hope your Neve is back on track soon!
Hey Glenn what's your experience in recording fretless bass. How many limes have you had someone thinking that they're Jaco and in reality they're Nikki Sixx
In regards to the solo sitting in the mix. If you don’t wanna do automation there’s also the side chaining compressor lead to the rhythm. To drop it a few db as you mentioned and it can sound a bit more natural (depending on the compressor being used).
Guitar feedback is possible with small desktop speakers too. It's a matter of loudness vs proximity.
"Sonic possibilities" yeah, my Sega Genesis has Sonic possibilities too. How's these statements are relevant to the conversation of making music, I do not know lol
Plasma TVs were really easy to image burn, but it's extremely rare in modern LED and OLED TVs. Manufactures have several tricks in the software drivers to prevent this. For example, for areas of the screen that isn't changing they'll slightly dim individual pixels and slowly alternate which one. You can't see it, but it's enough to prevent burn in. They understand that people use TVs for computers and gaming that have areas that are static for long amounts of time. OLED is really tough. That's one reason it's used in "always on" displays for phones. It's technically possible to burn an image in, but it's highly unlikely. You'd really have to put in some work to do it.
Thanks for wanting to look into bass speakers. I have an old bass practice amp that works fine but the stock speaker just sounds dull, so I'm looking to yank that speaker out and swap. I know that there has to be a difference since we see various bass cabs with different speakers.
There's really no way to get natural feedback other than using an amp. If you want to use amp sims and want feedback, you need a DI box, 2 guitar cables, and a real amp, could just be a small practice amp. It doesn't matter how it sounds because you're not recording the amp, you just need a lot of distortion. Sit directly in front of the overly distorted amp and tweak it until you get the result you want, it doesn't need to be super loud. With a cable going from your guitar to the DI box, and a cable from the box to your amp using the pass through, you will be able to record your guitar parts directly while still getting real feedback. You may need to tweak your guitar tone in the amp sim or put the feedback on a different track, but it will work.
might just be one of those things physical amp/cab has over amp sims
Shout out to the Spiffing Brit on Spectre? Hell yeah man! Love that dude!
In regards to the fishman pickups, as far as I am aware they can shift the tone a bit with their different voicings. They’re active pickups in a different way than emgs in that they have circuitry in between the coil and the output that essentially EQs it to whatever specifications you might want. Not all sets are super versatile though… the fluence moderns sound almost identical between the voicings on high gain. The Devin Townsend fishmans have a pretty noticeable difference though from what I can hear, as an example. It’s basically a slight modification to the source signal. It’s equivalent to putting an EQ pedal in the front of an amp, which can change the tone a small amount depending on settings. Is it a $300 difference? I doubt it.
What's the name of the anime again? Where can I stream it?
To the one asking about Amp Sims and Feedback. Yes, it's definitely possible. Try using a Fuzz Pedal and dime the gain on that and on your amp, turn off the noise gate and there you go
GLLLEEENNNN!
One of the most pervasive 'arguments' that seems to be coming from the 'resistant to evidence' crowd is this "BUT IN THE ROOM THE DIFFERENCE IS HUUUGEEE!!"
Now I just spent £18,000 last year converting the garage in my new house into a home studio.
I used both REW and SonarWorks to both analyse my room and give myself the flattest response possible. (I have a full video series on my channel)
Have ANY of these guitarist EVER thought and considered that the reason 'in the room' can appear so different is that their speaker position in the room and the room shape is causing EQ increases in some frequencies and drops in other frequencies as the room modes both increase and decreases the frequencies coming out of speaker and changes depending on where the listener is. (along with that they DEFENITELY wont be level matching either)
Have you ever tested this as I think this would be an amazing test to test speaker placement in a 'standard' untreated bedroom and using REW to measure how the speaker output curve is affected not only by the room but by where the guitarist is sitting in relation to the speaker when playing.
Unless you are sitting in the EXACT same place every time, the room modes are going to really mess with your frequency curve and drop off times in REW.
Might be an interesting (yet possibly complex) test.
Oh, I wonder why that is the reasons studios spent so much money to control the room with things like diffusers, reflectors, absorbers, resonators... You must be on to something there ;)
ok, ok, ok here we go. Feedback without an amp in the studio, you need at least an ES-335 variant and really loud headphones for organic feedback OR the BOSS Distortion Feedbacker, a very cool pedal. If you want feedback while you are playing a note you need to take your headphones and put them as close to the pickup as possible, one time I did this at the end of a dramatic run in a solo a little too hard, the guitar sounded like it exploded! So cool! Anyways if you just want musical feedback, use an open tuning and a capo to feedback in the right key. RECODRING A BASS AMP, bass is a different animal than guitar. Guitars you record close normally, although Hendrix did not. A Bass cabinet does all kinds of crazy shit when you get it really loud, cab resonance and the general movement of volumes of air and the interplay of the speakers themselves. Remember JIm lill's experiment was done with a tele on little guitar cabs, not an 8x10 Ampeg cab at 120db and at 60HZ. The studio standard used to be, mic the bass cab and use a DI then split those in stereo or blend to taste. You also need to use the right mic, not a fricken sm57, you need a mic with good response down below the 100hz. It's not complicated, surround your bass cab with old twin mattresses or something if you don't have an ISO booth where things won't rattle, mic it with a bass drum mic backed off a few feet, crank your ferkin amp to 11, then split out of a DI to the board or your digital I/O.
Picking up on the reamp thing my HX Stomp has reamp options nut I have never tried using it. I think the idea is that you can run a dry signal on and treat that as your guitar input running it through everything the Stomp has to offer but what if I just ran the reamp in, put nothing in the signal chain and ran it into the amp? For technological reasons I can't do this at the moment but would it work? The Stomp gets a digital signal so no issues over line or mic level so I can't see any reason why not but I am aware that I have almost zero experience here.
I’m not sure if all the details in manga and anime are the same, but Beck is definitely my rite of passage. First picked up when I was in middle school and just started playing guitar, after that, high school, university, graduated, employed, and at every stage of my life, I kept re-reading it and it hits differently every time.
Question: @5:46 what would be the difference in tonal quality between switching from parallel to series wiring with the same PUP? I have a pair of P-Rails and do this with push pull switch and I "think" I can hear the difference. Is it worth a test? (set up: I can run the P90, the Hot rail, series, and parallel with push pull switches so I think 4 different tones into two overdrive pedals)
You should put together a "Best Rants" video, or "Butt Hurt of the Week" compilaton! I'd watch either or both of those!
I tend to crank the mids for solos because that's generally where the fundamentals of the notes played in a solo are. Helps a whole lot with note intelligibility.
I played the Mick Thomson pickups in a guitar with a 5-way switch and really liked the different sounds. The 2 and the 4 positions were wired for single coil sounds with kind of a strat and then tele tone. I don't just play metal, so having all those options is way cool to me.
For the guitar solo question, I wonder if by too loud, they meant it’s sitting on top of the mix, in which case some reverb might help it glue into the mix better similar to vocals. I typically create sends of my guitar solo track into the vocal reverbs and whatnot in order to cut down on the number of reverb plugins I’m using
As far as pickup differences, it’d be great if we could get a robot or something to strum a guitar exactly the same (or like Jim Lil’s table guitar where it’s just the pickups and the strings) and swap out pickups to get some sort of an eq curve with a DI signal
Given the majority of pickups are machine wound with the exact same number of turns perfectly placed, the same style of pickups will sound identical because they are exact copies of each other.
I put like 5% of the raw input in the solo, it helps by giving a little bit of presence. I even run that through a big muff for maximum effect. It is similar as changing the amp, you can consider the raw input as a different cabinet or IR
Glen, I'm considering getting the Strymon Iridium BUT I don't know whether to use my Active DI box or to get a passive DI box. I use passive pickups, but obviously, the Strymon has a preamp in it. Does the DI matter at all or am I overthinking it? Thanks
Best thumbnail ever. Thank you. I needed that.
2:05 the Forever War has been on my to read list for 20 years lol. Thanks for reminding me. Gonna get it now!
I second the fact that the geometry of a cabinet plays a big role(aside from the speaker of course) in how a cab sounds. I treated myself on my 40th 10 years ago to a custom built Filmosound style combo from a local amp builder who specializes in those style of amps. It's only approximately 15 watts with a 10" Celestion GN10 10" speaker. It's a smallish open back cab, but he clearly spaced and sized it out to get the fullest frequency response out of it. The level of bass, mids, and overall volume that come out of the thing is astonishing! Hell it sounds fuller than some of my 12" speaker loaded sealed cabinets! Cabinet sizing and geometry make a huge difference in the sound you hear in the room.
I can say with confidence, that when I play my Fluence moderns with the modern voice the chugs are very clearly tighter..
Show us before and after recordings, because the rest of us don’t have any confidence at all.
@@SpectreSoundStudios Will do
As a bass player, I can say that good pickups have less noise and consistent output. There is a certain difference between the hotness of the signal between active and passive ones. That's it. Fishman/Emg etc sound almost the same when you connect to an preamp with drive and then put them in a mix. If you have a decent pickup it's fine you don't need to upgrade.
Hey Glenn, your bit about the audio interfaces had me thinking. Do you think the next big step in home studios will be audio interfaces that do it all? i.e. an interface with storage to be loaded with with software, that can double as DI, etc?
Random question: I know that amp sims are a thing, but I'm shooting for an "all live instruments" vibe on this doom metal song I'm working on, so would you recommend a Peavey Windsor or a Joyo Meteor for the amp. I'll be running that through a Celestion Greenback and SM57.
Hey to answer the amp feedback question, the best thing to do is that is to "Chime" between the 3rd and 4th fret (you do a harmonic on the 4th and 5th string) that will give you the simulated feedback and you an use your treble to change the pitch.
I was playing nirvana bleach, on the song papper cuts, you over crank the gain and treble and chime.
Its hard to get at first but if once you nail it down you can really mask it with your hands and pull the majic trick.
Another great tip I use all the time along with switching amps/cabs(sims) when getting solos to sit right in the mix, is to look at the frequency spectrum. If your rhythm guitars have scooped mids, add midrange to your solo sound and back off the highs a bit. If you're after more of a traditional metal rhythm sound with more midrange, try the opposite (just don't suck all of the midrange out) and try to emphasize a different high midrange frequency to get some definition. I don't remember it clearly, but it's a method I picked up by reading an interview with either Terry Date or Dave Jerden in Glenn's all time favourite guitar mag Guitar World sometime in the early 90's.
Holy shit. I fully forgot about Mongolian Chop Squad. My weekend just got incredible.
Fully agree with the live off the floor comment, too. I'm just about done mixing a band where we tracked everyone together for the backing tracks, then came back and overdubbed vocals ABBA style, with the lead and backing vocalists singing into two different mics and facing each other. Learned a whole shitload about what not to do, but we're nearing the final result and the energy is utterly delicious. Can't wait to do it again with the lessons I learned.
This channel REALLY helped me dial in my snare tones, so double-thanks.
Loved beck. Watched it as a kid and kept replaying the tracks into adulthood
I feel like with more investment into active pickup technology they could feature integrated preamps with large EQ differences and compression characteristics. Like using a clean mid boost (like the fortin 33/grind or the old tube screamer boost thing) to reduce the low end hitting the front of the amp. Giving a clearer pick attack.
Hey Glenn, is there a cheap way to plug in an expression pedal via usb ? I have no midi input and me Scarlet so I'm a bit screwed.
Hey Glen, so I can give my 2 cents on the realtor cable that came with rocksmith. They are basically an analog to digital converter with about 6 dB of variable gain. Latency depends on the system you are using it with. If I remember correctly, though, I think they are limited to a 16-bit converter and can do more than a 48000 hz rate. I would say if you're just starting to tinker or need something easily portable, then the cable would be great, but you have more flexability in a direct interface.
I know there's very little difference between pickups with tone, but is there a type of pickup that's better at resisting EMI or electronics noise? I have the humbuckers my guitar came with and I'm wondering what i can do to stop getting the buzz from my PC's electronics besides moving far away (which is really annoying). Are active humbuckers pickups better at emf? Am I stupid and should I be doing something else entirely? it's so annoying! I think I saw someone say copper tape or something once? Also I think I have dirty wall power.
Every time I hear of someone who has ANYTHING expensive break, I am reminded of the great words of Apu:
"Thank you, come again."
😂😂
Can you do a series on mixing bass vocals? In particular I would like to know if that bass package "Elemental" has features for getting kick, bass, and bass vocals to sit in a mix, as well as how to layer guitars on that. As a bottom dweller, I generally side chain the bass, then do a dynamic notch filter on the pads (guitar). I also do a bass roll off of the fundamental and any room sound on my voice ala Baritone. I in particular like to use bass sounds that mimic my voice so as to blend them.
Is there any problem with Radial reamp box's specially the cheaper one. Did watch one of your vids where you where say Radial had problem.
holy moly thanks glenn! never thought i'd see one of my comments on one of these videos ever.
GLENN. I’ve been using a cheap $300 squire p-bass for recording but I’m tired of the feedback and ground hum. Do you have recommendations for a bass to keep in the studio?
What software did you use when you compared (i think it was) Guitar pickups?
Be good to do a video for setting up a back up rig. Cause no matter how good or expensive gear is, a back up is almost essential!
oh shoot thanks for the quick reply! i didn't expect it so soon
definitely taking notes on what you said, i do use different tones for leads (and i actually use *your* IRs for rhythm, hah), but i will try the automation thing, i have been trying that with other things (like dropping rhythm guitars a bit on the chorus if i have a big harmony stack on vocals, stuff like that) and it does make a world of difference, so definitely will try that for solos
thanks again!
also, definitely check the live action adaptation of beck, script wise is not as good as the anime because it has to be more condensed of course, but the songs, man, the songs!
I saw a trick for getting feedback by using a small amp (microcube size) near the guitar. A guy in the queen music play was in the orchestra pit, playing really close to it when he needed feedback, otherwise the amp was not audible by the audience. If you get a magnet near the pickups they will catch it (a speaker is a magnet after all)
Would you recommend different tones for lead roots vs the harmonies as well as leads vs rhythms?
I love Beck and it's one of the reasons why i began playing the guitar and later sing ❤
I’ve found that using a DI box and playing through an amp in the room, whether you mic it up or not, is a good way to get feedback into your amp sims. I don’t knowing this has been offered up or not, but hope that helps.
About the metronome thing. Imo it saves money for bands. It allows them to be more tight and allows them to use midi vsts for layers and programming drums for demos. Also recording shit to a grid makes it a bit harder to move around and change the arrangements. Maybe it takes away some of the life of some songs but it makes tracking and writing a much easier imo
Bands programming drums for demos?
I've used a rocksmith cable when my other 2 channels were being used for something else. It works! I'd still get an interface
So glad to hear someone talking about Beck, one of my all time favorite anime, I've watched it over and over. And part of the soundtrack was Burlington Ontario's own Boys Night Out, which I thought was awesome to have a canadian band having a song on a japanese show in the early 00s (side tangent, Spookey Ruben, maybe my favorite canadian musician, has had his song These Days Are Old used in the japanese variety show Warakora for something like 25 years now)
🤣🤣🤣🤣 this is gonna be funny.
Hope things have gotten better with the Neve man.
Thanks for the belch
Hey Glen, love the work you do and the channel. You have a lot of videos demystifying what makes a great guitar tone, but I'd love to hear what you think makes the most difference when recording bass
And hey, as an incentive, you may only need to explain it once.
Many thanks
Ren
Glenn, I absolutely love your Channel I am learning so much from you, and being entertained as well. Keep doing what you're doing. Best of luck with your Neve board. Rock on brother on brother.
On the subject of two guitar players -- I will always recommend the first Cage the Elephant album as reference. That album with headphones has such an amazing mix and does a great job of showcasing two guitar players. Most tracks are panned hard left and right, and you can hear the individual players very clearly, even if they're playing the same riff. "In One Ear" is my go-to track if I'm looking for a reference on making two rhythm guitars sound good while panned off. I know it isn't a metal album, but you should never be afraid to learn from other genres and audio producers.
Thanks for answering my question!
AMP SIM FEEDBACK TIP: Crank the distortion on the amp sim and it will feedback much easier and nastier, then when your done, change it back to how you had it!
Thanks for that lead guitar tips!
All the Creambacks I've had sound great. I also love Celestions in Fender amps. Even Keith Richards uses Celestions in his beyond rare hi-power tweed Twins. I just use the regular 65s. Also if you find the EVH greenbacks grab them. Before his death they were cheaper than the least expensive Chinese GBs and made in England and tuned to be just like his vintage ones. I only have one but now wish I'd picked up another one to run in a 2x12.
If you want feedback through an amp sim, use an Ebow or Sustainiac. I do it a lot with STL Tones and my Schecter Sustainiac.
Hey Glen. I have a question about speakers. Whats your preferred 8 inch for a combo
19:48 9 hour video you say? My autism is tingling.
Hey Glenn. I'm interested in putting your speaker advise to the test, but I will only have the money to try one speaker. I'm replacing the speaker in a Peavy revolution combo amp. With only one shot at it, and not alot of money to spend, how do I make the best informed decision? Is there any chance you could do a speaker video focused on notoriously lack luster combos?
For feedback, Helix Native (as well as the Helix and Hx line of pedals) has a new effect that does just that. It takes some tweaking, but does sound pretty good.
Please run a test to see what pick up rejects the most noise. I currently run EMG’s but I’d be willing to pay for new pick ups if there is a set out there that “bucks” more hum.
Maybe they are generally doing the same thing?
Sucks about your Neve, dude. I hope they get the new computer to you quick ‘cause that thing is sick! Great vid as usual.
What advice (if any) would you give to a band recording remotely? Example: I’m tracking guitars , bass, and vocals in Nevada while my Dad is tracking drums in Oregon. Emailing our files back and forth is becoming a bit daunting, and Dropbox just seems a headache to work with. Are there any better options that you know of?
I read "The Forever War" on deployment many years ago. Thoroughly enjoyed it.
Apart from the output, is there a difference between recording a DI through a reamp box and directly to the interface?
Yes, there is a little bit of phase shift introduced by a DI's or Reamp Box's transformers. Each signal should sound identical in isolation, but in parallel you might hear some cancellation.
Beck: Mongolian Chop Squad is one of my all time favorites. Not only does it depict a competent bassist, but the song Spice of Life actually influenced my own style. Love it!
IK Multimedia axe i/o interface has a reamp out and it works amazing. Very affordable too.
Hey Glenn, I need to replace my Focusrite (after a solid 6 years of working) the USB connection on the back of the unit is getting very loose and when it disconnects, my computer decides to crash. Any suggestions on a good replacement?
What are you recording? How many ins/outs you need? What’s your budget? Lots of options out there but with those answered it’ll be a lot easier to point you in the right direction.
Glue!
So I have a Caparison Metal Machine guitar with the stock KSE Fishman bridge pickup. This specific guitar/pickup combination has this mid honk in the heavy palm mutes that I love and those same pickups in my 2006 Gibson Explorer don’t really have it. It’s very noticeable to me vs my guitars with EMGs or standard Fluence Moderns. I don’t understand your comments of “there’s barely any difference between humbuckers” because I can definitely tell in sound and feel, as many others can. Is it possible that you, personally, just can’t hear those differences?
What if you replicate the harley benton cab see if theres a difference also use different materials and speakers
Hey Glenn, as you've taught us the speaker and mic placement is the most critical part of the tone. My question is, is there a threshold of amp to use? I have a LG100A head and Marshall HDFX100 head and am wondering if it would be worth it to sell them and get one amp head
How and where do you use these heads?
I had some big and heavy solid state amp heads in the past, Orange Crush and Randall, they where fine for home/studio usage, but for the stage a lighter poweramp and a good modeller will do too, even just a modeller and in ears if you don’t need stage volume, in ear drivers and how well they seal is more important there.
We used Orange Pedal Baby 100’s as poweramps for a while now, they can keep up with a loud drummer and have a good natural response, probably because they use A/B like a valve amp beside the Jfet on the input.
Was recently told that Baest uses the same poweramps live these days.
Played and owned several valve heads and combos in the past, not going back to that, maybe a single Synergy preamp module or one of the newer analog Marshall sim pedals if my modeller dies one day, depends a bit on how much further modellers have gone the day that happens.