The problem is when a friend is using that just to rag against you. "you're flat" or "you're sharp" litearlly EVERY SINGLE TIME when we're singing in the car. Maybe I don't care because I don't sing in a band.
@@candykanefpv So, you completely don't care about singing in tune? Okay, that's a different situation. If you do actually care, you can check your singing with a guitar tuner. Download one on PC or phone. You might be surprised how out of tune you are. Maybe it's actually painful to listen to you, lol. No offense.
@@SuperBakersk8er the important thing here is that it doesn't matter why the friend told him he was outta tune. Whether he told him as helpful constructive criticism or completely to be a dick it was the fact that he made him aware of the fact that he's possibly lacking in some way and that there may be some woodshedding that needs done to bring him up to par,... Either way the guy did him a huge favor because the the number one reason why a lot of people suck at singing is because they have no idea that they suck at singing... Especially when you're surrounded with biased friends and family members that also don't want to hurt anyone's feelings and they want to be courteous so what ends up happening as they come up for karaoke stage after murdering some Billy Cyrus song a handful of their friends who are the people they trust and believe the most in the whole world are patting them on the back and telling them that they sound good and that does nothing but breed more sucking.... This guy was actually lucky because the person who brought to his attention that his singing was subpar also at the same time pinpointed exactly what the problem was letting him know what it was he needed to work on it... Which was his pitch control. Pitch control is what decides how good of a singer someone is it is the only thing that matters actually you can tune a cat and it will sound acceptable, but when most people hear somebody singing bad they get recognized it immediately although they have no idea what it is or why it sounds like shit all I know is it just does so they just assumed that the person doesn't have a "good voice" .... Celine Dion has an incredible voice and Kurt Cobain barely has one at all but both are highly successful singers because the sounds and grunts that comes out of their mouths are in tune... Each syllable has to be at an exact pitch no different than any other instrument.... You can make it good instrument of the most exotic materials known to man are you can make one with a milk jug or perhaps a saw blade and a violin bow then they can be all used to make great music under the the one condition they are in tune... And nowadays since that thing you're holding in your hand can be used as a pinch detector/analyzer/Tuner ... As well as a recording studio to track your progress eggs ever been easier to fix that problem, ... The most difficult thing by far is realizing that you have it.
"Let's take a guitar lesson together" "Have you ever thought about playing bass?" "Wow, your voice is really interesting!" "You could be our triangle guy" These all usually work
Sad part is most of them wont, they'll be lame asses who need attention for the rest of their lives, and will talk shit on you every chance they get because even tho you did the rightest thing you could, you "hurt their feelings", because that's just the society most of us live in nowadays
For the bit on telling your friend he's terrible: I really felt that one in my bones. I had a friend in high school who was a great drummer, and I wanted to start a band with him, even though I was nowhere near his level. He handled it by telling me to give it a year or two to knuckle down and practice, and THEN we'd see about jamming together. He put the kibosh on the idea while encouraging me to improve, and was honest without being a dick. And it was a great reality check for me.
I really appreciate this channel. It's given me so much info and corrected so many things and habits that would've been really hard to get away from later on in this business
Just wanted to tell you that I was jamming with some friends yesterday, I started playing The Eagle Has Landed and everyone followed! We're all fans of the channel and we've heard the song so many times we all learned it. We love it!
I joined a buddy who I knew was a decent bassist and guitarist for a gig he was doing with him on vocals and guitar and a bassist--he said a drummer dropped out and he needed someone so I jumped in. Man the vocals were ROUGH. Very, very rough. Then he wanted to make it a permanent band and book a bunch of gigs...it was awkward to decline, especially because I'll gladly play in a band with him....just not with him singing.
Best lesson i gave a student was when they complained about scales being boring and not worth it. I started shredding and sweeping mid discussion and gradually slowed it down until they could see what i was using to shred. Never heard another complaint about scales again.
Shredding and sweeping mid discussion is an universal solution for any problem, just imagine: -Hey, honey, I think I'm preg... -DEEDLY DEEDLY DEE DEE DEEDLY DEE DEEDLY DEE
Another way to get good at performing is to set up your practice space like a stage and put mirrors in front of you so that the whole band can watch each other's movements and know what works and what doesn't. Best advice Jerry Roush ever gave me.
Addition to the phase question: always check the recorded waveforms in the software you're doin' the editing and mixing. It's clearly visible on the well-aligned waveforms if they are in opposite phases. Yeah, they will look inverted, obviously. Also, if you are unsure if they are inverted, do a soundcheck by inverting the phase on 1 track and listen. If it sounds strange, repeat phase switching. Usually, the inverted phase is clearly audible on the lower frequencies - but all of this is definitely not written in stone and might depend on the actual recording (microphone placement, cables, mood of recording engineer, amount of beer, etc).
I watch your videos several years now and 2-3 weeks ago one guy wanted to record his demos at my place and I said OK. For recording 5 songs he wanted a flat rate and knowing what you already brought up before I said no way, 5 bucks per hour and holy chromeballs! You shoulda seen how well prepared he came! LOL Glenn, your tips are priceless! Rock on - from north Serbia (remember that country in Europe that fell apart, once called Yugoslavia?) And - popushi ga Glen! :D
There should be a tingling tension in the rehearsal room when you are playing with a new musician. The amps are fired up,you have exchanged pleasantries,talked about football and had your coffees,the dusty,cold padded room is either going to come alive or the moment just won't happen and you say your goodbyes. Your heart and mind are open,you have searched so long,you are tired but you never give up,Could it...be ... Him? Then...at the sound of his opening 12th fret harmonics You get THAT feeling,what Sorcery is this!!!? A growing tension,at first felt in the toes,then seeping up into the loins and then into the stomach,your eyes meet in the smoky room,you both exchange admirable glances as he reacts to your guitar lines,you feel his huge thumping bass embedded deep in your being as his eyes begin to moisten from the beautiful leads you are creating,his bass becomes the carpet over which your dynamic and extremely sexy leads start to walk,then run! You inspire each other and it is not you playing anymore but your kindred spirits have musically copulated into an intense artistic orgasm.Your heart beats faster as he is following your chords in a perfect synchronicity and your doubts leave you. He IS the Chosen One. Something is stirring in your pants as he goes full Jaco,it is a feeling you have never had from a grown man before,you watch as he strokes it so hard and fast and you are mesmirized. He IS the new Bassist and you go for Beers because you did not create music in that room that fateful evening.....You...... created Magic. That is how you know,anything less,forget about it.
I used to suck at guitar but I kept up playing at eventually got good. SRV didn't start out being great, he worked at it. I love the Bad News shirt. Very funny.
I had this experience 35 years ago. A great....and still close .. friend of mine, guitar player. Had all the best gear...took lessons for years. We could not even get him to play smoke on the water...iron man....nothing that would be considered entry level rock tunes......he was so tone deaf. He would...could ..not get that chords were actually tone specific...not just move your hand higher or lower on the neck. Or that a songs chord progessions used the same patterns. I still have cassette tapes of those painful years. Good thing other wise no one would believe me if i told them. Long story longer...we finally told him he was a better drummer...until we heard how he tuned his Tom toms across his kit...
I used SM57 mikes for years. I had never tried any other mics. I decided to get a Sennheiser 609e after some research on a good cheap $100 range mic like the SM57. I am very happy with this it. I find that using them both fattens up the guitar sound a lot. They are both good mics but sound very different when comparing them recorded. Also I have a stereo rig and wanted to give IR's a try. At the time the only stereo IR box was a Cabzeus. I picked one up and I love it. When playing live and bringing a cab is an issue, I can go direct out of the Cabzeus to front of house. With this box you can not import IR's. But the software when connected to a computer allows you to change a lot of parameters on any of the 8 preloaded IR's it comes with. I am experimenting recording with Mic's and IR's at the same time and being able to alter the level in on any of them as they are each on a separate bus. Tons of tweeking options with this set up.
I responded an ad on Kijiji from a Bass player (this guy was actually good) looking for players to jam with. Back then I was 15 and not very good at guitar, I only knew the basic pentatonic stuff and 12 bar blues. After we jammed once or twice he told me I wasn't really what he was looking for as he was a jazz player at a much more advanced level, but recommended a place I could go to where I would be able to find like-minded musicians to play with. Fast forward 5 years and I'm playing in a band that I met thanks to that guy's recommendation, we've got our first EP out and my guitar skills have improved exponentially. Sometimes the hard truths are the most helpful ones.
Im getting some great results with a 57 on one speaker and an audix D2 on the other. Through the Behringer mixer of course. That was a great tip Glenn been loving it ever since you released that video
Yes indeed, we use a 57 on one and an e609 on the other, and then send 'em to the lil behringer. Works like a charm, the tone came alive!!! THanks Glenn and Ulrich!!!
If your passive microphone is very quiet your pre-amp can be the issue. 1. Get a better interface 2. Get a better preamp 3. Get a product like the Cloud Lifter that raises the level cleanly before it hits your interface
Congratulations on the upgrade to the Schoeps miniCMIT, excellent shotgun! I've used it's big brother quite a number of times, and love it's sound. I ended up with a DPA 4017 for my main shotgun since I got a great deal on it, and absolutely love it too. The Schoeps & DPA's are a cut above every other shotgun I've used, incredibly neutral & transparent sounds.
I've been a self taught guitar player for almost 15 years and I probably fucking suck, and don't play enough, but I've been throwing around the thought of getting off my ass and recording some of the crap that brews in my mind while I drive my big rig across the US. This is a bullshit comment, I realize, but I just wanted to say as a new subscriber, but long time viewer, that I would love to spend a weekend just to shoot the BS with you and be a complete asshole by picking your brain for all of that beautiful knowledge that you possess. Keep up the good work, your content is top-notch, and actually gives off personality, unlike many other channels, and MUSIC IN GENERAL THESE DAYS!
Hey Glenn! I’ve been playing guitar for a couple months now and would like to save up for something better that my Line 6 Spider. I was thinking of getting a Harley Benton 2x12 and an amp head. I noticed you have the Joyo Bantamp Blujay. Have you tried using that with different distortion/overdrive pedals? I enjoy playing several genres of music including metal so having sever good clean/overdriven/distorted sounds would be pretty nice. I mostly listen to metal, but also enjoy playing blues/jazz/rock. I haven’t actually ever used pedals before. Can you even get good metal tone with a distortion pedal on any amp? If that doesn’t sound good, maybe I should save up for two Joyo amps? Or the Boss Katana Head? What about the Orange Micro heads? Would love to know your thoughts. Thanks Glenn!
Hey Glenn, I use Reaper and I record to a click, but when I listen right after tracking, the take is always a little behind the Reaper click no matter how on point it felt in the recording process. Latency seems the obvious culprit, but when I monitor the recording live, there is no latency issues (maybe a fraction of a second, but not enough to disrupt playing and definitely not as much as the finished take) It seems to only happen after its already recorded. That being said, I then usually have to pull the takes back just a smidgen to align them with the Reaper click I just recorded against. (example: A tambourine in time with the click) My question(s): Do you know any tricks that will kill that odd push each take gets? Or should I just align every single recording to perfection since I already have to pull things back? My PC should be plenty capable, and cumbersome plugins are added later. Sorry for the long comment, I honestly cant thank you enough. You've taught me so much, Thank you, and respectfully.. Fuck You Glenn
I’ve encountered this from both sides. I’ve had to tell people and I’ve been told. Usually it’s due to playing style not working out rather than technique. What I’d recommend is bringing your friend in and giving them some tunes to learn. Then video record them playing the tunes with you at lower volumes. Or just record them playing the tunes with the pre recorded stuff. It should be pretty obvious to them if it isn’t working. They will either be good enough a player to adjust and fix the issue or they will bow out. I recorded an album in 2014 and our producer literally fired our bassist from the studio recording and had the bass stuff farmed out to someone he knew. He told our bassist “look you can be in the band but you won’t be on the album”. I was in the room at the time. It sucked but dude was costing us time and money. Also had he been more prepared he could have sealed his own fate. Don’t forget, a band mate whose falling behind or not prepared for a studio session or live performance is showing lack of respect to the project and your fans. So any excuse they make (short of family emergency or injury, which you should be able to prep for) is meaningless. They otherwise put it on themselves.
Ground problems - if you're having issues with guitar pickups picking up mains hum, there's a much cheaper solution. Basically, avoid having your mains wiring running in a circle; lots of extensions and four-ways are your enemy here, but if you must use them then make sure they only run in a straight line along one wall. I took this advice from one of my high-end-studio-owning mates with my (admittedly small) office, and it instantly fixed all of my problems...as well as making everything a lot tidier.
Hey Glenn. How about doing a short crash-course video on EQing for those of us who are totally new to home-recording (like the basics of how to EQ guitars, bass, drums and possibly keyboards)? Sort of a quick reference-video/summary of the "How to record heavy [insert instrument here]" series is what I suppose I'm suggesting
So, my friend has a punk band, which is kickass but, they still don't have a decent recording. I've tried to offer my service to get them to sound as they should on a record. However, they always wind up following the guitarrist choice of doing it all by themselves. Thing is they are clueless and they don't seem to be putting a lot of effort in their recording/mixing stages. I really want to help them so my question is; how do I convince them that I could help them sound way better on record than what they've done so far?
Do it pro bono if you feel that strongly about their art. Maybe include an open ended payback plan. Realizing you're doing your part for art. I just wouldn't make a habit of it.
Hey Glenn, I'm going to do a university course on music technology in September . For the past 3 years I've been doing music performance in my college but I feel I need to do the tech side of music as I'd like to be a producer as well as a performer. Anything I need to prepare for? Cheers from Wales!
I have a 12x15' room and closet that I was able to acoustically treat for very cheap, 2 packs of cheap pack of wedge foam off ebay for 99$ each, Two packs of packing blankets off ebay, about 60$ each, and some strong spring clamps from a local hardware store, I foamed the closet, layed packing blankets on the floor of the closet, then hung spring clamps along the top perimeter of my room, and hung packing blankets from those, as well as some foam here and there, and it sounds amazing!!! Best investment into my recording setup by far!!!! I was able to get my studio acoustically done under 400$....
My daughter wants to form a band. She's barely 14, and enjoys singing. I'm trying to convince here to let me record her so she can hear what she sounds like "from the outside" and can see what needs improvement. I think what she really needs is a vocal trainer, but she really has no time for more activities besides piano lessons, junior life-guard training and ballet (oh, and school, including the school choir and theatre group ...). I guess I'll just let them do it. The band thing, I mean, if they can find the time. If she practices more and gets some peer-feedback, that may actually be worth more than dad-feedback :)
Fuck that, your opening song kicks ass, reminds me of shadows fall. Killer ass riff amd drum beat. And on top of that you don't have to worry about copyright bullshit. Love from MS brother
Hey Glenn! My drummer loves playing fast loud and heavy 100% of the time and doesn't really understand nuance and dynamics. What's a good way to explain to him he's got to.play less for the song, without telling him what to play and ruining morale.
He refuse to edit his videos and they are as a result long winded and tedious. The zany thing wears thing and after a while you get fed up with him. Glenn by comparison is a total pro - he gets it- his videos are tight and on point always.
@@freepadz6241 Glenn's great, dont get me wrong. But if I want a short explanation I can read it. I watch youtube to be informed AND entertained. Both those guys do that in a different way.
Hey Glenn, we always get great tips on how to mic guitar amps and cabs. But what about bass amps and cabs? Obviously recording bass direct is all the rage, easy to do, and allows for more control of the signal, etc. My band typically records bass direct with great success so I'm not opposed to that technique. But I've recently purchased some classic bass amps and cabs that I want to capture on future recordings. What mics and placement techniques do you recommend for getting a great bass recording using traditional bass amps and cabs?
If you want the triggers that don't suck and have false triggering try reviewing onhead or inhead triggers. They use FSR tech which basically means there is two layers of conductive paint that has to actually touch in order for a signal to be sent, thus preventing any accidental triggers entirely. They don't have cymbal versions of this tech unfortunately, but they work amazing for everything else except for kicks drums, for which they don't have a trigger for.
Didnt know that about the orange plugs, you normally see them when places have propper generator/ups (hospitals, buisnesses, industrial, etc) so I assumed it was just to indicate that they are protected
You can still be a bit out of phase with 2 mics on different speakers, what I would do, is flip the phase on one, get them point of min sound, then reflip the phase on the inverted one. You'll get the best phase alignment possible. same for micing a single speaker. super phase alignment, It takes some time, and it can suck, and it can be miserable. but once you get it, the sound will be enormous.
Glenn kinda messed up about the phase thing (2nd question I think). Every time you record the same performance with more than 1 mic (like different parts of a drumkit, or 2 speakers plugged into one guitar), you need to worry about phase issues. If you record different performances on different speakers, the phase relationship will not be consistent, so you won't need to worry about it. In the case of the same performance recorded on the 2 speakers (like the amp being plugged into 2 speakers, or the guitar into 2 amps), you do need to worry about the phase relationship. It will not ever be "completely in phase", but you can get strangely different (and cool) results by playing around with the phase relationship
1:13 Diamond wipes are a Glenns best friend! One of the early books on recording I read said to have a rompa room at the studio. for relaxing during long stressful sessions. It said to have lounge type area with video games it even suggested a having a hot tub! While the hot tub may be a bit to gross to think about (marinading with metal heads ) do you need a relaxation area in the studio or do you just say "GO OUTSIDE!" like my folks did?
Yeah, I tried the polite way of telling a drummer he couldn't play well. The drummer said he knew about his mistakes and would work on them. But he never improved. Eventually, the band got tired of his excuses and we parted ways on good terms. So much time was lost I really wish I had been stricter.
Hi, I’m a professional bassist in LA that’s building a setup for doing remote sessions. I have Logic X Pro with a Scarlett 18i20. I’m thinking of using a Universal Audio 710 Twin-Finitiy as a DI/Preamp and am looking for a good compressor that will be solid but not astronomically pricey. My budget for it would be 500-800 max if it’s something that’s worth it, but preferably less if there’s something out there that will get the job done at about the same quality. I only need two channels for the DI and a mic’d amp. So excited you’re working here in LA now! I met you at NAMM one year and you’re an awesome dude, also fuck you Glen.
Your answer about the SM57 pairing got me wondering. In previous videos, you've talked about how a lot of metal music sounds the same (SM57 mic receiving a 5150 with a tube screamer boost in the front, ect.). It's a great setup, and I would say it's a classic setup at this point, but are you using that formula or something close to it? Or are you looking at a different direction for tone/mixing? OR are you doing what the band tells you to do? What I'm asking is, what are you doing to break the cycle, if you're able to.
The MB85 Beta is better than the SM58 even and at less than half the price, i have tested them side by side and own a couple of the MB85 Betas. Its not just me thinking this, read the reviews on Thomanns site. Im not sure about the MB85 (without the beta) though. The CD56 Beta seem killer on toms, sounds fairly close to the MD421 if you compare them on Thomanns site,
I remember a couple years ago when I asked you about a BBE through the the FX loop of a 5150(3). You must have saw my stupid fire vid(not a video guy). You said, ''Kill it with fire!". I just listened to it for the first time in a long time, and you were right. BBEs sucks on guitars. It kills a lot of frequencies, unless, you have a great bass player to fill it in like Biin-Daa-Kwed. But, I don't think they use those anymore. I heard they will be playing in Grand Rapids, MI next weekend and the following Saturday.
Damn. This has been one of the best viewers' comments episodes. You could have spun this one off into several episodes. I hope this ep will get tagged in case people search for these questions About the guitar wanking (solos): if your vocalist has been absolutely wailing away, an instrument solo section is a really good idea. Your vocalist will have a chance to rest the voice. My theory is that power metal has these extreme wank fests because the vocalists are just doing all sorts of insane singing.
Trogly covered the Dean situation and he mentioned Gibson might not have grounds for some claims since they haven’t protected their trademark on 40 year old guitar designs (and I prefer my ML over any V or Explorer I’ve ever tried so I’m with Dean on this one)
Hi Glenn, we know your disdain for Spider Line 6s, but, did you ever try the Fender G-Decs when they were being made? I have one and it seems pretty darn good, works amazing in Ableton, it can switch the monitors to being the amp, so you can play to the amp, awfully handy to have the Click play through the same speaker you're playing through. I think Fender discontinuing them was one of their worst decisions EVAH. I don't mean for studio work, but, for a bedroom amp, low end home recording, it's got to be a better use of funds than a Line 6. Thanks, Steve Jenkinson Earl of MacFuckyouGlenn, at Castle MacFuckyouGlenn, in MacFuckyouGlenn County
(for the person not trying to piss off the neighbors but still wants awesome tone) what about a attenuator for the amp so you could turn the amp up to get the tone without all the volume going out to the cab, watched a interview with evh and thats what he did, they got one on reverb for like $25 , might not be best way but for $25 its worth a shot
So I have a friend who really wants to make music and start a band. He's repeatedly asked me to join his cause, because he believes I'm pretty good on guitar and I guess bass, I just started learning it seriously not long ago. I've repeatedly voiced my concern about not wanting to be serious about it but he keeps trying to get it up and running. For now I'm playing along but if things get serious I'd really want to dip out. I'm a bedroom musician who enjoys learning the technical side of it all and fixing guitars and doesn't really want fame but wants to have his friend happy, what do I do?
Re the amp volume problem. I built a box out of thick ply wood. Lined it with cheapish sound deadening foam and it's amazing how much it lowers the volume. I can have my amp cranked and still be able to here my monitors without deafening myself. I'll have to get a video recorded of it.
THANK YOU FOR MAKING THIS VIDEO! I have a friend that plays bass, and he wants us to make a band together. I’m not an amazing guitarist, but he sucks a little bit. A lot.
Hey Glenn. So i've been in a band for almost 2 years now and we have yet to play live. The first year went around finding the right members to work with and finding the right work ethic. Now this year we have 3 songs ready and 2 songs that we are finishing. I thought we could book a gig 2 - 3 months in the future to create a centered focus to make this run more smoothly. What is your thought on this approach?
12:00 Something else to keep in mind is I believe Slipknot's Iowa album was mostly recorded without a click and now that's a legendary album in the metal world. As Glenn said it all depends on what music you're making and what you want it to represent
It's really not whether you SHOULD play to a click, but whether you CAN play to a click. People, who don't play to a click are of two kinds - those who are unable to do so and those who no longer need to.
@@KohuGaly it's not even so much that, when you play to a click you're devoting some of your focus on keeping in time with that metronome as beat as you're physically able. This obviously makes the track sound technically better. Just because you don't NEED to play to a click doesn't mean that you SHOULDN'T play to a click. It will still help your song sound technically better. However for some types of music (I believe it was Scissors that they completely abandoned using a click with) it makes more sense to not play to a metronome as you can then play the song with as much emotion as you want without putting any attention on playing to a beep or click. Which I think can help the song tremendously under the right circumstances. There's a very clear and strong difference between not using a click for artistic purposes and not using a click because you can't be bothered/can't play to it.
I know it's not incredibly common in metal, but would you ever consider doing a video on how to record acoustic guitar? There's so many ways you can do it, but I was wondering what your preferred methods were.
Hey Glen. My band is nearing the point where we are seriously considering going on tour as an opening act for a bigger act and the reoccurring question is how road worthy is our gear. We know that a tour lasting longer than a week can have some negative effects on your gear. Do you have any tips on how to test the road worthiness of your gear? (p.s, bring back the “Bass is lif” shirt. For some reason I play my bass much better when I wear that shirt haha.
i permanently installed piezos inside my drums for triggering and they even work as a mic alternative ... bband made the same more professionally called ukko drum mics ... it is a nice addition or alternative ... less bleed less problems
Hey Glenn, don’t know if you’ve answered this, but what is your opinion on recording schools like Full Sail and the LA Recording School. I’ve heard they “only scratch the surface” and cost around $70,000+ in tuition. I think it would be a great experience, but don’t want to waste my time and money if there are better routes. Thanks and Cheers from AC .
I got say though. Having a studio where the band can stay too is pretty amazing if they are responsible adults. I made a record at Sonic Ranch in Tornillo Texas on a 2000 acre ranch and staying there was amazing as we could just get away from everything and focus on our music. Just have to be mature and behave. That being said I totally get what you are saying, bands get out of control and reckless at times and DONT behave. And counting on people to be responsible is risky. We spent too much money to be anything but responsible and as guests of a well known producer we certainly behaved.
What happened to Rosen IR's? Their website is still working but they don't seem to be active. You mentioned Lancaster but they look similar to Rosen ones. What is the deal here?
Have you tried the Fisher direct out? I've come across it a few times doing live sound, an I love the tone. the owners were seasined pros and had nothing but good things to say about them.
It's true! When I was in a band, the first few gigs were just us separately playing our parts, even after practicing the SHIT out of our music. But after a few shows, we learned how to work together as a whole and make more entertaining shows. Practice is great and extremely important to get the songs tight but it isn't the same as a crowded environment using the house sound.
Hi Glenn, I have a several questions to ask that I've never seen comming in spectre VC (sorry if it came out in an episode I haven't seen): 1) I love your dual mic in a cheep mixing bord, but I was wandering if you could do it by pluging the two mics directly in the audio interface and set both of the inputs in the same recording track. 2) Do you get the same sound quality by doing this audio chain: mic → audio interface → record → send to analog compressor → record; than doing the regular: mic → pre amp → compressor → audio interface → record. I was thinking that by doing the first one you could compress the sound a million times (kinda like re amping a guitar) but is it possible and/or usfull (I'm a bit scared to throw away hours of work on a violin track because I've compressed to hard on the way in, also if you have some tips to compress this instrument I'll be very happy to hear them, I've never understood how to get a good amount of compretion without killing the tone) 3) Is actually a good idea to use my high end guitar pedals for mixing, for exemple when mixing vocals if I want reverb, can I do: audio interface → reamp box → reverb pedal → DI → audio interface. Will I break something and/or will it sound better if I just install some better plugins (I use stock plugins that came with Ardour 4 for linux, the only one I installed was a EQ) 4) What is the point of those super simple EQ (like the one you used in your tutorial about mixing snares) over the 10+ band EQ with graphic representation of the frequency spectrum, and with tons of settings you can twick? 5) How do I tell my dad that NO his work isn't the same as creating audio gear (analog or digital), that YES analog gear is worth buying, that YES reamping guitar and compressing are smart things to do AND you won't lose signal quality because of it, and lastly that there is more latency on digital plugins than on analog gear. He has been really been a cunt about it, says these things every time I bring the subject and even refused that I buy gear with my own money because he didn't approve it (I'm 15 so I'm not independent yet). Thanks for reading, sorry for the bad english, it's not my first language and still studying it in highschool. Cheers from France and fuck you Glenn!
1) The interesting bit with the method happens in the little analog mixer. It adds certain kind of flavour to the tone that you don't get when doing it purely digital. That said, there's nothing wrong in mixing multiple mic's from separate tracks. The point of the cheap-mixer-trick is that the analog mixer adds something extra to the sound. 2) Almost the same quality. It depends on the precision of your ADDA converters in your audio interface. The point of doing it the simple direct way (mic-pre-comp-rec) is that it forces you commit, which forces you to develop your skill and confidence in operating the compressor. In the long run it saves a lot of time, because you don't waste time dicking around so much. 3) In might be a good idea if you want that exact reverb and you like it more than the options you have available. What you described is pretty much exactly how one uses outboard gear, so in principle it should not break anything. Plugins are option to consider due to the convenience. "better" is context sensitive. 4) More settings does not mean better. It just means more options. If you already know what you want to do, you just use a thing that does that. In that specific case you talk about, Glenn is using emulators of hardware gear. They do the eq in particular way and also add a bit of that analog flavour, that you don't get from regular digital EQ. Also, sometimes using a thing with a lots of extra options may lead to wasting time by dicking around with settings that make marginal difference, "just because you can". Trust me, humans have a monkey brain - it's sometimes best to avoid distractions before they happen, than trying to plow through them through sheer willforce. 5) I'd recommend learning something called "street epistemology". It is a conversation technique designed for addressing irrational beliefs and opinions in an unconfrontational way. It might help you having much more constructive conversations with your father on this topic. I do highly recommend it. It will certainly help your issue much more than Glenn's highly opinionated yelling in a youtube video (though there is place and time for that too, so no disrespect towards Glenn and his work).
@@KohuGaly Thank you for responding to my comment, it's cool to see there are still peaple willing to help noobs in this world. I'm gonna check out the "street epistemology" you talked about as those kind of discution happens really need to stop. Have a nice day! : )
The moment a friend told me I'm not singing in tune was the moment where I started to really learn how to sing. Thanks, Paul.
The problem is when a friend is using that just to rag against you. "you're flat" or "you're sharp" litearlly EVERY SINGLE TIME when we're singing in the car. Maybe I don't care because I don't sing in a band.
@@candykanefpv
So, you completely don't care about singing in tune? Okay, that's a different situation.
If you do actually care, you can check your singing with a guitar tuner. Download one on PC or phone. You might be surprised how out of tune you are. Maybe it's actually painful to listen to you, lol. No offense.
Maurice T what kind of fucking moron reads my comment and fails to realize it's about singing IN THE CAR. Fucking dipshit.
Echo i think he just ment maybe your friend just genuinely doesn’t enjoy your singing.
@@SuperBakersk8er the important thing here is that it doesn't matter why the friend told him he was outta tune. Whether he told him as helpful constructive criticism or completely to be a dick it was the fact that he made him aware of the fact that he's possibly lacking in some way and that there may be some woodshedding that needs done to bring him up to par,... Either way the guy did him a huge favor because the the number one reason why a lot of people suck at singing is because they have no idea that they suck at singing... Especially when you're surrounded with biased friends and family members that also don't want to hurt anyone's feelings and they want to be courteous so what ends up happening as they come up for karaoke stage after murdering some Billy Cyrus song a handful of their friends who are the people they trust and believe the most in the whole world are patting them on the back and telling them that they sound good and that does nothing but breed more sucking....
This guy was actually lucky because the person who brought to his attention that his singing was subpar also at the same time pinpointed exactly what the problem was letting him know what it was he needed to work on it... Which was his pitch control. Pitch control is what decides how good of a singer someone is it is the only thing that matters actually you can tune a cat and it will sound acceptable, but when most people hear somebody singing bad they get recognized it immediately although they have no idea what it is or why it sounds like shit all I know is it just does so they just assumed that the person doesn't have a "good voice" .... Celine Dion has an incredible voice and Kurt Cobain barely has one at all but both are highly successful singers because the sounds and grunts that comes out of their mouths are in tune... Each syllable has to be at an exact pitch no different than any other instrument.... You can make it good instrument of the most exotic materials known to man are you can make one with a milk jug or perhaps a saw blade and a violin bow then they can be all used to make great music under the the one condition they are in tune... And nowadays since that thing you're holding in your hand can be used as a pinch detector/analyzer/Tuner ... As well as a recording studio to track your progress eggs ever been easier to fix that problem, ... The most difficult thing by far is realizing that you have it.
How to tell your friend he's terrible? Send him the link to this video 👌
And add a comment - "wink-wink"
:D
You beat me to it
Sent my friend "who is terrible" a link to this video... He called me to discuss grounding issues... :-(
@@Staminist-MMF-80 let them simmer in the uncertainty 💯
Plot twist, Glenn made this video to tell all his fans they are terrible 🤔
My dear friend you truly suck, watch this and you know...
"Let's take a guitar lesson together"
"Have you ever thought about playing bass?"
"Wow, your voice is really interesting!"
"You could be our triangle guy"
These all usually work
Nice!
COWBELL I see you with a ........
Invite them to play in your band. Also, be dragonforce
I was the triangle player in the grade 1 band. I got better.
Give your friends what they need, not what they want. They'll appreciate it in the end.
Or are whining and blaming you about their mistakes. :/
@@janvirtanen6199 they'll survive. 🤣 and if they don't oh well.
Appreciate you to your face. Then behimd your back be like, he's so mean, what a dick 😂
@@stefanfyhn4668 meh, I still sleep pretty damn good.
Sad part is most of them wont, they'll be lame asses who need attention for the rest of their lives, and will talk shit on you every chance they get because even tho you did the rightest thing you could, you "hurt their feelings", because that's just the society most of us live in nowadays
YES!! Hair flip intro! Also enjoy the video, of course :)
For the bit on telling your friend he's terrible: I really felt that one in my bones. I had a friend in high school who was a great drummer, and I wanted to start a band with him, even though I was nowhere near his level. He handled it by telling me to give it a year or two to knuckle down and practice, and THEN we'd see about jamming together. He put the kibosh on the idea while encouraging me to improve, and was honest without being a dick. And it was a great reality check for me.
"Grow Some Balls And Perform"
That could be an awesome T-Shirt
tool4eg second
Third
Yes
i want one
"You could be a great singer if it wasn't for your voice"
"thats my job" .. and you do it very well .
I really appreciate this channel. It's given me so much info and corrected so many things and habits that would've been really hard to get away from later on in this business
Yeah, fun and interesting stuff. Diverse group too.
Hennings switching and camera angles really add an interesting dynamic to the video. Great episode as always Glenn :)
I find the switching distracting
Just wanted to tell you that I was jamming with some friends yesterday, I started playing The Eagle Has Landed and everyone followed! We're all fans of the channel and we've heard the song so many times we all learned it. We love it!
I joined a buddy who I knew was a decent bassist and guitarist for a gig he was doing with him on vocals and guitar and a bassist--he said a drummer dropped out and he needed someone so I jumped in.
Man the vocals were ROUGH. Very, very rough.
Then he wanted to make it a permanent band and book a bunch of gigs...it was awkward to decline, especially because I'll gladly play in a band with him....just not with him singing.
Best lesson i gave a student was when they complained about scales being boring and not worth it. I started shredding and sweeping mid discussion and gradually slowed it down until they could see what i was using to shred. Never heard another complaint about scales again.
Shredding and sweeping mid discussion is an universal solution for any problem, just imagine:
-Hey, honey, I think I'm preg...
-DEEDLY DEEDLY DEE DEE DEEDLY DEE DEEDLY DEE
It does not work on " Why are you in bed with her questions " however . Or maybe I should have used another scale ????
@@InsidiousOne See you get it !! It's probably why she's pregnant to start with as well!!
@@gilbertspader7974 Maybe be more of a Fermata in the sack and less of a Staccato ?
@@thesc0tsm4n9 If I was more staccato she wouldn't have caught us ! If she was more Mixalodian it wouldn't have been a problem !!!
Your video's kick ass !! Been recording for 25 years. I've been playing Metal for 46 years
Another way to get good at performing is to set up your practice space like a stage and put mirrors in front of you so that the whole band can watch each other's movements and know what works and what doesn't. Best advice Jerry Roush ever gave me.
I was totally blown away by the production quality of this video. Great work Glenn!
That’s Henning’s studio
@@SpectreSoundStudios Still a great video!
Addition to the phase question: always check the recorded waveforms in the software you're doin' the editing and mixing. It's clearly visible on the well-aligned waveforms if they are in opposite phases. Yeah, they will look inverted, obviously. Also, if you are unsure if they are inverted, do a soundcheck by inverting the phase on 1 track and listen. If it sounds strange, repeat phase switching. Usually, the inverted phase is clearly audible on the lower frequencies - but all of this is definitely not written in stone and might depend on the actual recording (microphone placement, cables, mood of recording engineer, amount of beer, etc).
I once played a gig in which the bass player showed up (on time, surprisingly enough)... but without his bass.
I watch your videos several years now and 2-3 weeks ago one guy wanted to record his demos at my place and I said OK. For recording 5 songs he wanted a flat rate and knowing what you already brought up before I said no way, 5 bucks per hour and holy chromeballs! You shoulda seen how well prepared he came! LOL
Glenn, your tips are priceless! Rock on - from north Serbia (remember that country in Europe that fell apart, once called Yugoslavia?)
And - popushi ga Glen! :D
There should be a tingling tension in the rehearsal room when you are playing with a new musician. The amps are fired up,you have exchanged pleasantries,talked about football and had your coffees,the dusty,cold padded room is either going to come alive or the moment just won't happen and you say your goodbyes. Your heart and mind are open,you have searched so long,you are tired but you never give up,Could it...be ...
Him? Then...at the sound of his opening 12th fret harmonics You get THAT feeling,what Sorcery is this!!!?
A growing tension,at first felt in the toes,then seeping up into the loins and then into the stomach,your eyes meet in the smoky room,you both exchange admirable glances as he reacts to your guitar lines,you feel his huge thumping bass embedded deep in your being as his eyes begin to moisten from the beautiful leads you are creating,his bass becomes the carpet over which your dynamic and extremely sexy leads start to walk,then run! You inspire each other and it is not you playing anymore but your kindred spirits have musically copulated into an intense artistic orgasm.Your heart beats faster as he is following your chords in a perfect synchronicity and your doubts leave you. He IS the Chosen One. Something is stirring in your pants as he goes full Jaco,it is a feeling you have never had from a grown man before,you watch as he strokes it so hard and fast and you are mesmirized. He IS the new Bassist and you go for Beers because you did not create music in that room that fateful evening.....You...... created Magic. That is how you know,anything less,forget about it.
I used to suck at guitar but I kept up playing at eventually got good. SRV didn't start out being great, he worked at it. I love the Bad News shirt. Very funny.
Thanks for bringing back the awesome L'Oreal ad intro
I had this experience 35 years ago. A great....and still close .. friend of mine, guitar player. Had all the best gear...took lessons for years.
We could not even get him to play smoke on the water...iron man....nothing that would be considered entry level rock tunes......he was so tone deaf.
He would...could ..not get that chords were actually tone specific...not just move your hand higher or lower on the neck. Or that a songs chord progessions used the same patterns.
I still have cassette tapes of those painful years.
Good thing other wise no one would believe me if i told them.
Long story longer...we finally told him he was a better drummer...until we heard how he tuned his Tom toms across his kit...
I used SM57 mikes for years. I had never tried any other mics. I decided to get a Sennheiser 609e after some research on a good cheap $100 range mic like the SM57. I am very happy with this it. I find that using them both fattens up the guitar sound a lot. They are both good mics but sound very different when comparing them recorded. Also I have a stereo rig and wanted to give IR's a try. At the time the only stereo IR box was a Cabzeus. I picked one up and I love it. When playing live and bringing a cab is an issue, I can go direct out of the Cabzeus to front of house. With this box you can not import IR's. But the software when connected to a computer allows you to change a lot of parameters on any of the 8 preloaded IR's it comes with. I am experimenting recording with Mic's and IR's at the same time and being able to alter the level in on any of them as they are each on a separate bus. Tons of tweeking options with this set up.
Glenn- Just want to say you are awesome! Thanks for all you do man.
Hubbell is a manufacturer. Many different companies produce isolated ground receptacles.
I responded an ad on Kijiji from a Bass player (this guy was actually good) looking for players to jam with. Back then I was 15 and not very good at guitar, I only knew the basic pentatonic stuff and 12 bar blues. After we jammed once or twice he told me I wasn't really what he was looking for as he was a jazz player at a much more advanced level, but recommended a place I could go to where I would be able to find like-minded musicians to play with. Fast forward 5 years and I'm playing in a band that I met thanks to that guy's recommendation, we've got our first EP out and my guitar skills have improved exponentially. Sometimes the hard truths are the most helpful ones.
Another enjoyable FAQ, Glenn.
Cheers from a fellow Ontarian!
Yes, yes and YES for new intro songs. Build up your legacy as a musician even more, that will be awesome!!!11 :)
I had undercooked chicken wings for dinner last night,
I'm currently watching this video from my bathroom
I wish you the strength you need
@@ZZaGGrrUzz thanks brother. Im still cramping
Salmonella is no fun stuff. Cook your chicken properly.
@@daveleblanc3558 thats the last time I follow the intended cooking time on the box
@Lopyt *Sir_Guy* thats none of your business ;)
Hubbell is the brand name, Leviton and several other manufacturers companies make isolated ground outlets as well.
Im getting some great results with a 57 on one speaker and an audix D2 on the other. Through the Behringer mixer of course. That was a great tip Glenn been loving it ever since you released that video
Yes indeed, we use a 57 on one and an e609 on the other, and then send 'em to the lil behringer. Works like a charm, the tone came alive!!! THanks Glenn and Ulrich!!!
If your passive microphone is very quiet your pre-amp can be the issue. 1. Get a better interface 2. Get a better preamp 3. Get a product like the Cloud Lifter that raises the level cleanly before it hits your interface
Congratulations on the upgrade to the Schoeps miniCMIT, excellent shotgun! I've used it's big brother quite a number of times, and love it's sound. I ended up with a DPA 4017 for my main shotgun since I got a great deal on it, and absolutely love it too. The Schoeps & DPA's are a cut above every other shotgun I've used, incredibly neutral & transparent sounds.
What recorder are you using these days? I'd highly suggest taking a look at sound devices if you haven't already. The 6 series is fantastic.
My favorite day with this channel! Great job Glenn🙋
I've been a self taught guitar player for almost 15 years and I probably fucking suck, and don't play enough, but I've been throwing around the thought of getting off my ass and recording some of the crap that brews in my mind while I drive my big rig across the US. This is a bullshit comment, I realize, but I just wanted to say as a new subscriber, but long time viewer, that I would love to spend a weekend just to shoot the BS with you and be a complete asshole by picking your brain for all of that beautiful knowledge that you possess. Keep up the good work, your content is top-notch, and actually gives off personality, unlike many other channels, and MUSIC IN GENERAL THESE DAYS!
I love the honesty and insight on amp sims!
Killer QnA as usual!
Thank you for no morph cuts! Also great video!
Hey Glenn! I’ve been playing guitar for a couple months now and would like to save up for something better that my Line 6 Spider. I was thinking of getting a Harley Benton 2x12 and an amp head.
I noticed you have the Joyo Bantamp Blujay. Have you tried using that with different distortion/overdrive pedals? I enjoy playing several genres of music including metal so having sever good clean/overdriven/distorted sounds would be pretty nice. I mostly listen to metal, but also enjoy playing blues/jazz/rock. I haven’t actually ever used pedals before. Can you even get good metal tone with a distortion pedal on any amp?
If that doesn’t sound good, maybe I should save up for two Joyo amps? Or the Boss Katana Head? What about the Orange Micro heads?
Would love to know your thoughts. Thanks Glenn!
Hey Glenn,
I use Reaper and I record to a click, but when I listen right after tracking, the take is always a little behind the Reaper click no matter how on point it felt in the recording process. Latency seems the obvious culprit, but when I monitor the recording live, there is no latency issues (maybe a fraction of a second, but not enough to disrupt playing and definitely not as much as the finished take) It seems to only happen after its already recorded. That being said, I then usually have to pull the takes back just a smidgen to align them with the Reaper click I just recorded against. (example: A tambourine in time with the click) My question(s): Do you know any tricks that will kill that odd push each take gets? Or should I just align every single recording to perfection since I already have to pull things back? My PC should be plenty capable, and cumbersome plugins are added later. Sorry for the long comment, I honestly cant thank you enough. You've taught me so much, Thank you, and respectfully.. Fuck You Glenn
I’ve encountered this from both sides. I’ve had to tell people and I’ve been told. Usually it’s due to playing style not working out rather than technique.
What I’d recommend is bringing your friend in and giving them some tunes to learn. Then video record them playing the tunes with you at lower volumes. Or just record them playing the tunes with the pre recorded stuff. It should be pretty obvious to them if it isn’t working. They will either be good enough a player to adjust and fix the issue or they will bow out.
I recorded an album in 2014 and our producer literally fired our bassist from the studio recording and had the bass stuff farmed out to someone he knew. He told our bassist “look you can be in the band but you won’t be on the album”. I was in the room at the time. It sucked but dude was costing us time and money. Also had he been more prepared he could have sealed his own fate.
Don’t forget, a band mate whose falling behind or not prepared for a studio session or live performance is showing lack of respect to the project and your fans. So any excuse they make (short of family emergency or injury, which you should be able to prep for) is meaningless. They otherwise put it on themselves.
Always look forward to your Videos!!Thanks Glenn!
Romper Room!!!! Hahahaha...I thought I was the only one who still remembered and referred to that show.lol well played Glen,Well played..😂😂
New intro hell yes!
Different intro songs for different segments is the way to go, so we still occasionally hear The Eagle Has Landed.
Ground problems - if you're having issues with guitar pickups picking up mains hum, there's a much cheaper solution. Basically, avoid having your mains wiring running in a circle; lots of extensions and four-ways are your enemy here, but if you must use them then make sure they only run in a straight line along one wall. I took this advice from one of my high-end-studio-owning mates with my (admittedly small) office, and it instantly fixed all of my problems...as well as making everything a lot tidier.
I wonder if Glenn is in Europe for the Graspop metal festival.
TGU.
Hey Glenn. How about doing a short crash-course video on EQing for those of us who are totally new to home-recording (like the basics of how to EQ guitars, bass, drums and possibly keyboards)? Sort of a quick reference-video/summary of the "How to record heavy [insert instrument here]" series is what I suppose I'm suggesting
I'm a simple man. If I see Henning's studio in the background of an SMG video thumbnail, I click the damned thing!
So, my friend has a punk band, which is kickass but, they still don't have a decent recording. I've tried to offer my service to get them to sound as they should on a record. However, they always wind up following the guitarrist choice of doing it all by themselves. Thing is they are clueless and they don't seem to be putting a lot of effort in their recording/mixing stages.
I really want to help them so my question is; how do I convince them that I could help them sound way better on record than what they've done so far?
You could compare your personal mix with theirs and point out the differences, might work?
Do it for free
punk and black metal and sometimes thrash & death (not as much as old school thrash & death) usually prefer the raw and dirty underground sound
Do it pro bono if you feel that strongly about their art. Maybe include an open ended payback plan. Realizing you're doing your part for art. I just wouldn't make a habit of it.
@@Soldier1287 "raw and underground sound" should not be synonymous with lofi "I lack basic recording skills" type mixes lmao
Hey Glenn,
I'm going to do a university course on music technology in September . For the past 3 years I've been doing music performance in my college but I feel I need to do the tech side of music as I'd like to be a producer as well as a performer. Anything I need to prepare for? Cheers from Wales!
I have a 12x15' room and closet that I was able to acoustically treat for very cheap, 2 packs of cheap pack of wedge foam off ebay for 99$ each, Two packs of packing blankets off ebay, about 60$ each, and some strong spring clamps from a local hardware store, I foamed the closet, layed packing blankets on the floor of the closet, then hung spring clamps along the top perimeter of my room, and hung packing blankets from those, as well as some foam here and there, and it sounds amazing!!! Best investment into my recording setup by far!!!! I was able to get my studio acoustically done under 400$....
That was cool. I was the 1000th Like. And it's only been a few hours. Well done, Dude.
My daughter wants to form a band. She's barely 14, and enjoys singing. I'm trying to convince here to let me record her so she can hear what she sounds like "from the outside" and can see what needs improvement. I think what she really needs is a vocal trainer, but she really has no time for more activities besides piano lessons, junior life-guard training and ballet (oh, and school, including the school choir and theatre group ...). I guess I'll just let them do it. The band thing, I mean, if they can find the time. If she practices more and gets some peer-feedback, that may actually be worth more than dad-feedback :)
Fuck that, your opening song kicks ass, reminds me of shadows fall. Killer ass riff amd drum beat. And on top of that you don't have to worry about copyright bullshit. Love from MS brother
Hey Glenn!
My drummer loves playing fast loud and heavy 100% of the time and doesn't really understand nuance and dynamics. What's a good way to explain to him he's got to.play less for the song, without telling him what to play and ruining morale.
I know you're kidding but it's almost criminal how few subs Henning has considering the quality of his content.
He refuse to edit his videos and they are as a result long winded and tedious. The zany thing wears thing and after a while you get fed up with him. Glenn by comparison is a total pro - he gets it- his videos are tight and on point always.
@@freepadz6241 Glenn's great, dont get me wrong. But if I want a short explanation I can read it. I watch youtube to be informed AND entertained. Both those guys do that in a different way.
Hey Glenn, we always get great tips on how to mic guitar amps and cabs. But what about bass amps and cabs? Obviously recording bass direct is all the rage, easy to do, and allows for more control of the signal, etc. My band typically records bass direct with great success so I'm not opposed to that technique. But I've recently purchased some classic bass amps and cabs that I want to capture on future recordings. What mics and placement techniques do you recommend for getting a great bass recording using traditional bass amps and cabs?
Man jim belushi has really changed since the last time hes been out in public
And he sounds Canadian EH !$!
I recorded my bands guitar parts using the diesel vh4 pedal and glens eagle cab IRs
You gotta try it
If you want the triggers that don't suck and have false triggering try reviewing onhead or inhead triggers. They use FSR tech which basically means there is two layers of conductive paint that has to actually touch in order for a signal to be sent, thus preventing any accidental triggers entirely. They don't have cymbal versions of this tech unfortunately, but they work amazing for everything else except for kicks drums, for which they don't have a trigger for.
Ceiling height is also fairly important to avoid standing waves. Good guide is 8ft +
"Where do I submit comments that you read on this show" LOL. Don't recognize that the comments in the videos look exactly like the youtube comments?!?
Didnt know that about the orange plugs, you normally see them when places have propper generator/ups (hospitals, buisnesses, industrial, etc) so I assumed it was just to indicate that they are protected
You can still be a bit out of phase with 2 mics on different speakers, what I would do, is flip the phase on one, get them point of min sound, then reflip the phase on the inverted one. You'll get the best phase alignment possible. same for micing a single speaker. super phase alignment, It takes some time, and it can suck, and it can be miserable. but once you get it, the sound will be enormous.
Glenn kinda messed up about the phase thing (2nd question I think). Every time you record the same performance with more than 1 mic (like different parts of a drumkit, or 2 speakers plugged into one guitar), you need to worry about phase issues. If you record different performances on different speakers, the phase relationship will not be consistent, so you won't need to worry about it. In the case of the same performance recorded on the 2 speakers (like the amp being plugged into 2 speakers, or the guitar into 2 amps), you do need to worry about the phase relationship. It will not ever be "completely in phase", but you can get strangely different (and cool) results by playing around with the phase relationship
1:13 Diamond wipes are a Glenns best friend!
One of the early books on recording I read said to have a rompa room at the studio. for relaxing during long stressful sessions. It said to have lounge type area with video games it even suggested a having a hot tub! While the hot tub may be a bit to gross to think about (marinading with metal heads ) do you need a relaxation area in the studio or do you just say "GO OUTSIDE!" like my folks did?
Yeah, I tried the polite way of telling a drummer he couldn't play well. The drummer said he knew about his mistakes and would work on them. But he never improved. Eventually, the band got tired of his excuses and we parted ways on good terms. So much time was lost I really wish I had been stricter.
Iso-box, eh? Any advice or tutorials for making a budget one? I'd like to try that.
i think there are plenty tutorials... just use google and youtube
i do really love how Henning sets up his camera rig lol.
Hi, I’m a professional bassist in LA that’s building a setup for doing remote sessions. I have Logic X Pro with a Scarlett 18i20. I’m thinking of using a Universal Audio 710 Twin-Finitiy as a DI/Preamp and am looking for a good compressor that will be solid but not astronomically pricey. My budget for it would be 500-800 max if it’s something that’s worth it, but preferably less if there’s something out there that will get the job done at about the same quality. I only need two channels for the DI and a mic’d amp. So excited you’re working here in LA now! I met you at NAMM one year and you’re an awesome dude, also fuck you Glen.
Your answer about the SM57 pairing got me wondering. In previous videos, you've talked about how a lot of metal music sounds the same (SM57 mic receiving a 5150 with a tube screamer boost in the front, ect.). It's a great setup, and I would say it's a classic setup at this point, but are you using that formula or something close to it? Or are you looking at a different direction for tone/mixing? OR are you doing what the band tells you to do? What I'm asking is, what are you doing to break the cycle, if you're able to.
Hey Glenn,
Any interest in checking out the Thomann SM58 and Audix D2 knockoffs? I got both: TBone MB85 and CD56, if so.
The MB85 Beta is better than the SM58 even and at less than half the price, i have tested them side by side and own a couple of the MB85 Betas. Its not just me thinking this, read the reviews on Thomanns site. Im not sure about the MB85 (without the beta) though. The CD56 Beta seem killer on toms, sounds fairly close to the MD421 if you compare them on Thomanns site,
I remember a couple years ago when I asked you about a BBE through the the FX loop of a 5150(3). You must have saw my stupid fire vid(not a video guy). You said, ''Kill it with fire!". I just listened to it for the first time in a long time, and you were right. BBEs sucks on guitars. It kills a lot of frequencies, unless, you have a great bass player to fill it in like Biin-Daa-Kwed. But, I don't think they use those anymore. I heard they will be playing in Grand Rapids, MI next weekend and the following Saturday.
Damn. This has been one of the best viewers' comments episodes. You could have spun this one off into several episodes. I hope this ep will get tagged in case people search for these questions
About the guitar wanking (solos): if your vocalist has been absolutely wailing away, an instrument solo section is a really good idea. Your vocalist will have a chance to rest the voice. My theory is that power metal has these extreme wank fests because the vocalists are just doing all sorts of insane singing.
The Guitologist covered Gibson's story and mentioned that lutes from 18 century already had the same headstock.
Trogly covered the Dean situation and he mentioned Gibson might not have grounds for some claims since they haven’t protected their trademark on 40 year old guitar designs (and I prefer my ML over any V or Explorer I’ve ever tried so I’m with Dean on this one)
Hi Glenn, we know your disdain for Spider Line 6s, but, did you ever try the Fender G-Decs when they were being made? I have one and it seems pretty darn good, works amazing in Ableton, it can switch the monitors to being the amp, so you can play to the amp, awfully handy to have the Click play through the same speaker you're playing through. I think Fender discontinuing them was one of their worst decisions EVAH. I don't mean for studio work, but, for a bedroom amp, low end home recording, it's got to be a better use of funds than a Line 6.
Thanks,
Steve Jenkinson
Earl of MacFuckyouGlenn, at Castle MacFuckyouGlenn, in MacFuckyouGlenn County
(for the person not trying to piss off the neighbors but still wants awesome tone) what about a attenuator for the amp so you could turn the amp up to get the tone without all the volume going out to the cab, watched a interview with evh and thats what he did, they got one on reverb for like $25 , might not be best way but for $25 its worth a shot
So I have a friend who really wants to make music and start a band. He's repeatedly asked me to join his cause, because he believes I'm pretty good on guitar and I guess bass, I just started learning it seriously not long ago. I've repeatedly voiced my concern about not wanting to be serious about it but he keeps trying to get it up and running. For now I'm playing along but if things get serious I'd really want to dip out. I'm a bedroom musician who enjoys learning the technical side of it all and fixing guitars and doesn't really want fame but wants to have his friend happy, what do I do?
Re the amp volume problem. I built a box out of thick ply wood. Lined it with cheapish sound deadening foam and it's amazing how much it lowers the volume. I can have my amp cranked and still be able to here my monitors without deafening myself.
I'll have to get a video recorded of it.
THANK YOU FOR MAKING THIS VIDEO!
I have a friend that plays bass, and he wants us to make a band together.
I’m not an amazing guitarist, but he sucks a little bit. A lot.
Hey Glenn. So i've been in a band for almost 2 years now and we have yet to play live. The first year went around finding the right members to work with and finding the right work ethic. Now this year we have 3 songs ready and 2 songs that we are finishing. I thought we could book a gig 2 - 3 months in the future to create a centered focus to make this run more smoothly. What is your thought on this approach?
12:00
Something else to keep in mind is I believe Slipknot's Iowa album was mostly recorded without a click and now that's a legendary album in the metal world. As Glenn said it all depends on what music you're making and what you want it to represent
It's really not whether you SHOULD play to a click, but whether you CAN play to a click. People, who don't play to a click are of two kinds - those who are unable to do so and those who no longer need to.
@@KohuGaly it's not even so much that, when you play to a click you're devoting some of your focus on keeping in time with that metronome as beat as you're physically able. This obviously makes the track sound technically better. Just because you don't NEED to play to a click doesn't mean that you SHOULDN'T play to a click. It will still help your song sound technically better. However for some types of music (I believe it was Scissors that they completely abandoned using a click with) it makes more sense to not play to a metronome as you can then play the song with as much emotion as you want without putting any attention on playing to a beep or click. Which I think can help the song tremendously under the right circumstances. There's a very clear and strong difference between not using a click for artistic purposes and not using a click because you can't be bothered/can't play to it.
Yeah man, I think it would be cool to hear new jams for the intro.
I know it's not incredibly common in metal, but would you ever consider doing a video on how to record acoustic guitar? There's so many ways you can do it, but I was wondering what your preferred methods were.
Hey Glen. My band is nearing the point where we are seriously considering going on tour as an opening act for a bigger act and the reoccurring question is how road worthy is our gear. We know that a tour lasting longer than a week can have some negative effects on your gear. Do you have any tips on how to test the road worthiness of your gear? (p.s, bring back the “Bass is lif” shirt. For some reason I play my bass much better when I wear that shirt haha.
nice to see a youtube channel using a mini cmit, my go to mic for dialogue
Now AxeFX3/Atomic AF6, those ampsims are done.
Now, gottum plenty punch, &
no gritty noises.
Real Friedman amps are scary quiet circuits, too.
You should do hair product commercials with that intro, nice blue amp !!
Henning is so under rated in terms of his honest videos :c
"your" and "you're" seem to remain a big challenge for a lot of people
usually those tend to be the same people that use single letters to shorten already tiny words
@@AnotherAnon DEADASS
True. Thanks for you're comment.
i permanently installed piezos inside my drums for triggering and they even work as a mic alternative ... bband made the same more professionally called ukko drum mics ... it is a nice addition or alternative ... less bleed less problems
The diamond wipe!!! So Euro-Zone, POW!!
Hey Glenn, don’t know if you’ve answered this, but what is your opinion on recording schools like Full Sail and the LA Recording School. I’ve heard they “only scratch the surface” and cost around $70,000+ in tuition. I think it would be a great experience, but don’t want to waste my time and money if there are better routes. Thanks and Cheers from AC .
I got say though. Having a studio where the band can stay too is pretty amazing if they are responsible adults. I made a record at Sonic Ranch in Tornillo Texas on a 2000 acre ranch and staying there was amazing as we could just get away from everything and focus on our music. Just have to be mature and behave. That being said I totally get what you are saying, bands get out of control and reckless at times and DONT behave. And counting on people to be responsible is risky. We spent too much money to be anything but responsible and as guests of a well known producer we certainly behaved.
What happened to Rosen IR's? Their website is still working but they don't seem to be active. You mentioned Lancaster but they look similar to Rosen ones. What is the deal here?
Have you tried the Fisher direct out? I've come across it a few times doing live sound, an I love the tone. the owners were seasined pros and had nothing but good things to say about them.
It's true! When I was in a band, the first few gigs were just us separately playing our parts, even after practicing the SHIT out of our music. But after a few shows, we learned how to work together as a whole and make more entertaining shows. Practice is great and extremely important to get the songs tight but it isn't the same as a crowded environment using the house sound.
I love the transitions in the video 😂
Hi Glenn, I have a several questions to ask that I've never seen comming in spectre VC (sorry if it came out in an episode I haven't seen):
1) I love your dual mic in a cheep mixing bord, but I was wandering if you could do it by pluging the two mics directly in the audio interface and set both of the inputs in the same recording track.
2) Do you get the same sound quality by doing this audio chain: mic → audio interface → record → send to analog compressor → record; than doing the regular: mic → pre amp → compressor → audio interface → record. I was thinking that by doing the first one you could compress the sound a million times (kinda like re amping a guitar) but is it possible and/or usfull (I'm a bit scared to throw away hours of work on a violin track because I've compressed to hard on the way in, also if you have some tips to compress this instrument I'll be very happy to hear them, I've never understood how to get a good amount of compretion without killing the tone)
3) Is actually a good idea to use my high end guitar pedals for mixing, for exemple when mixing vocals if I want reverb, can I do: audio interface → reamp box → reverb pedal → DI → audio interface. Will I break something and/or will it sound better if I just install some better plugins (I use stock plugins that came with Ardour 4 for linux, the only one I installed was a EQ)
4) What is the point of those super simple EQ (like the one you used in your tutorial about mixing snares) over the 10+ band EQ with graphic representation of the frequency spectrum, and with tons of settings you can twick?
5) How do I tell my dad that NO his work isn't the same as creating audio gear (analog or digital), that YES analog gear is worth buying, that YES reamping guitar and compressing are smart things to do AND you won't lose signal quality because of it, and lastly that there is more latency on digital plugins than on analog gear. He has been really been a cunt about it, says these things every time I bring the subject and even refused that I buy gear with my own money because he didn't approve it (I'm 15 so I'm not independent yet).
Thanks for reading, sorry for the bad english, it's not my first language and still studying it in highschool.
Cheers from France and fuck you Glenn!
1) The interesting bit with the method happens in the little analog mixer. It adds certain kind of flavour to the tone that you don't get when doing it purely digital. That said, there's nothing wrong in mixing multiple mic's from separate tracks. The point of the cheap-mixer-trick is that the analog mixer adds something extra to the sound.
2) Almost the same quality. It depends on the precision of your ADDA converters in your audio interface. The point of doing it the simple direct way (mic-pre-comp-rec) is that it forces you commit, which forces you to develop your skill and confidence in operating the compressor. In the long run it saves a lot of time, because you don't waste time dicking around so much.
3) In might be a good idea if you want that exact reverb and you like it more than the options you have available. What you described is pretty much exactly how one uses outboard gear, so in principle it should not break anything. Plugins are option to consider due to the convenience. "better" is context sensitive.
4) More settings does not mean better. It just means more options. If you already know what you want to do, you just use a thing that does that. In that specific case you talk about, Glenn is using emulators of hardware gear. They do the eq in particular way and also add a bit of that analog flavour, that you don't get from regular digital EQ. Also, sometimes using a thing with a lots of extra options may lead to wasting time by dicking around with settings that make marginal difference, "just because you can". Trust me, humans have a monkey brain - it's sometimes best to avoid distractions before they happen, than trying to plow through them through sheer willforce.
5) I'd recommend learning something called "street epistemology". It is a conversation technique designed for addressing irrational beliefs and opinions in an unconfrontational way. It might help you having much more constructive conversations with your father on this topic. I do highly recommend it. It will certainly help your issue much more than Glenn's highly opinionated yelling in a youtube video (though there is place and time for that too, so no disrespect towards Glenn and his work).
@@KohuGaly Thank you for responding to my comment, it's cool to see there are still peaple willing to help noobs in this world. I'm gonna check out the "street epistemology" you talked about as those kind of discution happens really need to stop. Have a nice day! : )