The man who's review made me buy the Harley Benton SC-550 Paradise Amber Flame in 2016 and the man who completely changed my metal mixes on the same couch. Wonderful.
You two should hang out more... with cameras rolling! Perfect balance between a little bit too soft, and a little bit too aggressive, and extreme amount of knowledge and experience!
I agree, it is great to watch this as an info panel, you get sooooo much knowledge out of it! you might not be able to apply the knowledge first hand (not everyone has a recording studio), but the info you get out of it forms and influences your creative process.
I am totally with you on this, Henning! I personally HATE Re-Amping for that exact same reason: the sound of an Amp(Sim) determines the way i play, the use of Pinch Harmonics, Dynamics etc. Just look at the extremes: i play something shreddy with a lot of Pinch Harmonics on a nice fat saturated Distortion Sound, than i decide: oh, let's Reamp it with a slightly crunchy Blues Sound.................................. in no (!) way this could ever possibly sound any kind of "Natural"! I can only see Reamping work if it used in small increaments and on relatively similiar Amps.
Interesting 😊! Enjoyed the video! The discussion is even more interesting. 🤔. I'm guessing the metal sound topic is more related to... Periphery, Meshuggah (although they created a distinct sound ), post metal type of thingy?? I don't know... 😔. Is early Carcass, My Dying Bride, Paradise Lost (Medusa - what a sound!!) is still considered metal? Or these are dad metal? 😂
I'm not by any means a recording artist, I'm a recording... bedroom... livingroom... guy. But I still loved this video. The "delay is an arrangement tool" thing blew my mind, I should try delay tones more than "just a smidge"...
I'd like to propose the argument, that everything that kind of shapes the sound and or performance should definitely be recorded and thus printed to the track itself, not thrown in via plugins afterwards. In the case of reverbs it gets a little harder. On one hand there are reverbs I'd like to see as more of an effect (eventide blackhole is a prime example of this), which I'd print onto the track. On the other hand I'd make guitarists not use reverbs that "just help to play", because it makes the engineer's job to create one coherent song harder. In this case adding a plugin reverb for a more natural sound while recording can help a lot. Especially because your're able to turn off the plugin before exporting the stems you want to send the person who mixes the whole thing later. Really interesting discussion!
You are both right, there is no right or wrong on this topic, but you get lazy thinkwise. I remember having young bands in the studio with no idea how they wanna sound as a band, even as a guitarist. It's a safety net for you as a producer, but you won't (or hardly) be able to reproduce the exact sound the band wishes to have, if they don't tell you all the exact details about recording their guitar. But then you can start with recording digital vs. analogue, the same with let's say photography. The more comfort you get the more possibilities there are and the less you will do a shure shot, because you simply don't have to.
Thank you two so much for addressing the Re-amping issue. I couldn't agree more. 👊 Re-amping itself can be useful in specific scenarios. But when a mixing engineer/ producer (i.e. GLENN!!!!) immediately goes; "Where's the D.I.'s? 🤔 I can't Re-amp this." 😤 It's like, let's just throw out the entire performance that this guitar player has painstakingly recorded and Re-amp it through an amp of my, (mixing engineer/producer) choice. 😑 I understand that in the case of an extremely amateur recording may require Re-amping but if it sounds good, leave it, right? 🤘
Great Format. As others have said, you should do more of those discussion-type clips (maybe have more beers in the fridge next time). I think I'm with Henning on this one ... in theory. In the last two years, for some reason [cough], many bands had to record separately at home and reamping was kind of a given. On that note: not many women in metal? Maybe you should check out the japanese metal/Rock scene : Nemophila (who, by the way, recorded their latest album at home separately;), Asterism, Band-Maid, Lovebites, .. Plenty of women in metal, who, incidentally, are also generally including some awesome guitar and bass solos in their work (but are not satanists:P
Thanks for the discussion. As a bedroom guitar hero, I'm mixing up some of the techniques discussed: I am recording with a Fireball plug-in (so basically having DI tracks), and if I am happy with all the tracks, I will re-amp them with my real Fireball. For me as an amateur this is way easier to dial in tones which adds up than "guessing". If I need effects, I put them in front of a cab sim (own IRs) - so I get the pedal-through-the-cab sound. It is the sound of the real Fireball Line-out going into this signal chain. Now I have to make a hard decision: If a track is finally recorded, should I commit myself by deleting the DI? Hmmmmm. I got a lot of nice input from this video to consider. Please do more discussions like this: even if I like nice things it is also nice to learn how to actually use them :-)
I’m listing before commenting… Hey there’s a first time for everything! Delayed my reactions but I thought if you were sending tracks to a pro you should send the sound you used and a Di just incase your sound had issues or needed some fixing? In answer to the question in the thumbnail, reamping doesn’t make me dumb I’m dumb all by myself!
As others commented: you should do more of this talks. It's great, just to listen to your conversation. And when Christian is doing something abour the POD... please make ist a Podcast... lol *dum dum tish
Henning is absolutely and exactly right. These are all the reasons I never got around to re-amping working for me. As a guitarist I react and interact with the actual sound. Re-amping makes that impossible. Re-amping is a thing for absolute emergencies. Or idiot simpletons.
I love re-amping and recording DI in my little home studio along with the wet track. But not to entirely re-amp but for minor tweaks on the amp and pedals/FX afterwards. Such changes that I otherwise would have to EQ out or re-track. A tiny bit more or less gain here and there, a little bit more hair from a pedal, little less bass or treble, etc. Stuff that would probably not change the performance. If I find myself in need to change major things, I just track it again. But this is just a workaround for my crappy mixing and producing skills. 😁 Apart from that I love to group the DI track with the recorded wet track and fix some minor misses on beats on the DI track which get automatically applied to the wet track then. Because on gainy tracks its harder to see the transients.
Henning, have you tried the Oxford Drum Gate to capture ghost notes?
3 ปีที่แล้ว +1
I HATE reamping but i love non destructive recording, safety nets and not commiting most of the time ... i just do not like waiting 5min until one guitar track is reamped, i use line 6 helix native or other good sounding vsts, the rest simply takes too long for me and i can safe settings. I want to record at least without a cab to add IRs later... Comminting to a tone leads to more work in the DAW, because you make it work with the tools of your DAW, reamping or vsts mean you do not tweak as much the post effetcs but the amp ... i also love D.I. tracks and ultra clean track without bleed but sometimes there are sounds i NEEED as commited tone, there are some tones that are simply only in the original gear and sound crappy in the digital realm ... here i love commiting to a tone BUT if possible i record DIs as a backup ... but idk i am a idiot so who cares :D
If I was going to consider a whole new career I would love to be a studio engineer and experiment with all of these recording techniques to get different tones. It sounds very fun
Cool video. I will never dedicate my time to reamping again. Thank you for the input. I think you 2 make a good TH-cam team. Maybe you should think of doing more stuff together… Yes the video is a bit lengthy but again, there’s a lot to learn from both of u.
They’re both right. They’re just not talking about the same thing and it boggles me that 30mins in Henning is still trying to counter Kristian by saying “in *not-metal* you wouldn’t do that so it sucks”
up to the artist about drum samples if you havent space use vsts but commit to a personal choice for the project maybe, i play a midi kit but i dont grid the samples that helps, ive heard many tracks that use real kits and samples of the real drums in the session and they end up sounding like vsts anyway by the time they are compressed, the room ambience is more important for the overall vibe
@EytschPi42 One argument i totally support "Henning, you are too professional!" .. and this has also two sides - You gear tests are probably somewhat worthless for many of your viewers, as you can handle anything, react to how it sounds, dial it in and make it sound amazing you using it. - something probably a lot of people can't replicate. And as a many years professional sound engineer / producer / musician - your ears can identify things in a sound (mix or single instrument) the most people are not able to identify. However, that's also why i like you content. I could by gear XYZ based on you videos (aehm, damn, i did ... ) - this would not help me, but it is inspiring. And time to time i learn from what you do ... and improve somewhat ... maybe ... - thanks ... :)
3 ปีที่แล้ว
26:33 i personally do not think the pod is bad, i know some songs recorded on the pod and the behringer pod clone that are cool BUT it is like setting the difficulty level of recording to "hard" because it is not easy making it sound okay :D with a great amp it is a bit hard to get really bad sounds out of it
Nah, it's too much fun to dial in a tone and try to capture it, you even get lucky accidents. I get that bedroom musicians find reamping useful, I'm still 100% with Henning on this, you play with your sound. Ok, you can capture a clean DI too, that's probably the clever way to do it, give yourself options, a failsafe but, come on, we buy gear, let's use it!!!
The two of you should start a new series together about music, guitars, recording etc. Love watching each of you individually but together is TH-cam gold!
Great video from two of my most favourite youtubers. Another point, why you should record with an at least similar tone to what you later will end up is that you might want to play live at some point. And if you have a totally different tone live than on the recording the audience will notice and probably not appreciate it. In the best case for the guitar player they will blame the poor FoH guy for the sound. @Henning when the punk guy comes to your place wanting to record you probably better don't give him your expensive guitars when you want to have them back in one piece...haha...just kidding
Back on topic (but blast beats rule!!!): As a homerecording guy with some decent semi-professional background and a lot of love for the heaviest of filthy (Death, Grind, Black…) METAL tones I can relate a lot to what Kohle says. Yes, reamping would be something for us to consider. But we use chuggi-djenti-grindy-sacrifice a tofubaby to the satan overlord-tones with an overdrive in front of highgain-stuff. For us it would actually be cool to share presets with the producer/audio engineer and use our neural dsp/grindstein/Zilla cab tones as a reference. I am 100% with you, Henning, when it comes to commitment. I don’t want to change everything in every stage of the process. But we only have plugins that sound Great. And good guitars/Basses - thats probably enough. Our live rig is … well. Bad. Because of money. We don’t have several thousand of € for two fulltube amps with two specialized cabs and four to six expensive mics in a really great room … not when a 100€ plug-in can come really really really close to that with basically no effort. But that’s another topic. Long story short- We would need reamping… (Don’t get me wrong, if we would have the money we would use the shit out of everything. But we just don’t.)
I have no idea why if you send someone your DI tracks you wouldn't send sound examples of what your hearing it makes no logical sense to ask someone for a sound but not give them a clue as to what it is and make their job so much harder.
1:05 - you ignore a whole spectrum of fluid gendered people who might feel now oppressed by being forced into to a very binary perspective on the potential audience of the guitar related activity displays on your channel and the struggle of turning the misconceptions regarding the predominance of the duality male/female in asserting new structures of knowledge in arts, music, and performance fields.
Nobody needs blast beats. I immediately looked like Kohle did. Same facial expression. Not funny Henning. Not funny. I have to sacrifice something to my blast goat god…. Blast beats rule!
![CAMPปลิ้น | EP.83[2/2] ประสบการณ์ขนหัวลุกจากตำนานวงการผี!](http://i.ytimg.com/vi/T_kFecQw7Ds/mqdefault.jpg)
Finally someone drinking beer on this channel!
Thanks for having me Henning! 😍
The man who's review made me buy the Harley Benton SC-550 Paradise Amber Flame in 2016 and the man who completely changed my metal mixes on the same couch. Wonderful.
You two should hang out more... with cameras rolling! Perfect balance between a little bit too soft, and a little bit too aggressive, and extreme amount of knowledge and experience!
I agree, it is great to watch this as an info panel, you get sooooo much knowledge out of it! you might not be able to apply the knowledge first hand (not everyone has a recording studio), but the info you get out of it forms and influences your creative process.
10:00 😆. Kristian’s face….
“He gave me beer , so i won’t hit him”
That’s great.
The actual timestamp for that scene is 39:16
Excellent & well put differing points. Excellent, more please.
Glad to see that we're still being appreciated 😅 🤘Thanks duuuudes 🤪
"Little more Metal!"
Henning, you need to do more of such conversations. This was very engaging.
Interesting topic/conversation here. Thanks Henning and Kristian!✊🏾
I am totally with you on this, Henning! I personally HATE Re-Amping for that exact same reason: the sound of an Amp(Sim) determines the way i play, the use of Pinch Harmonics, Dynamics etc. Just look at the extremes: i play something shreddy with a lot of Pinch Harmonics on a nice fat saturated Distortion Sound, than i decide: oh, let's Reamp it with a slightly crunchy Blues Sound.................................. in no (!) way this could ever possibly sound any kind of "Natural"! I can only see Reamping work if it used in small increaments and on relatively similiar Amps.
Henning, I have never thought this through before. Thanks for the info!
Henceforth Kohle shall say "Hello boys and girl"
Love the idea of mixing the pod with real amps great idea 💡 never tried that!
Layers cause a triple layer cake beats a sheet cake Ery time!
Interesting 😊! Enjoyed the video! The discussion is even more interesting. 🤔. I'm guessing the metal sound topic is more related to... Periphery, Meshuggah (although they created a distinct sound ), post metal type of thingy?? I don't know... 😔. Is early Carcass, My Dying Bride, Paradise Lost (Medusa - what a sound!!) is still considered metal? Or these are dad metal? 😂
I'm not by any means a recording artist, I'm a recording... bedroom... livingroom... guy. But I still loved this video. The "delay is an arrangement tool" thing blew my mind, I should try delay tones more than "just a smidge"...
Conclusion of this video; don't re-amp. Except sometimes, then you can do it. Got it! :)
The Reamping part is really interesting! And i agree that you react on the amp you are playing!
Very fun and interesting discussion!
I thought your washing machine broke and destroyed your flashy sweaters 🤣
I'd like to propose the argument, that everything that kind of shapes the sound and or performance should definitely be recorded and thus printed to the track itself, not thrown in via plugins afterwards.
In the case of reverbs it gets a little harder.
On one hand there are reverbs I'd like to see as more of an effect (eventide blackhole is a prime example of this), which I'd print onto the track.
On the other hand I'd make guitarists not use reverbs that "just help to play", because it makes the engineer's job to create one coherent song harder. In this case adding a plugin reverb for a more natural sound while recording can help a lot. Especially because your're able to turn off the plugin before exporting the stems you want to send the person who mixes the whole thing later.
Really interesting discussion!
You are both right, there is no right or wrong on this topic, but you get lazy thinkwise. I remember having young bands in the studio with no idea how they wanna sound as a band, even as a guitarist. It's a safety net for you as a producer, but you won't (or hardly) be able to reproduce the exact sound the band wishes to have, if they don't tell you all the exact details about recording their guitar. But then you can start with recording digital vs. analogue, the same with let's say photography. The more comfort you get the more possibilities there are and the less you will do a shure shot, because you simply don't have to.
Thank you two so much for addressing the Re-amping issue. I couldn't agree more. 👊 Re-amping itself can be useful in specific scenarios. But when a mixing engineer/ producer (i.e. GLENN!!!!) immediately goes; "Where's the D.I.'s? 🤔 I can't Re-amp this." 😤 It's like, let's just throw out the entire performance that this guitar player has painstakingly recorded and Re-amp it through an amp of my, (mixing engineer/producer) choice. 😑 I understand that in the case of an extremely amateur recording may require Re-amping but if it sounds good, leave it, right? 🤘
Great Format. As others have said, you should do more of those discussion-type clips (maybe have more beers in the fridge next time).
I think I'm with Henning on this one ... in theory. In the last two years, for some reason [cough], many bands had to record separately at home and reamping was kind of a given.
On that note: not many women in metal? Maybe you should check out the japanese metal/Rock scene : Nemophila (who, by the way, recorded their latest album at home separately;), Asterism, Band-Maid, Lovebites, .. Plenty of women in metal, who, incidentally, are also generally including some awesome guitar and bass solos in their work (but are not satanists:P
Thanks for the discussion. As a bedroom guitar hero, I'm mixing up some of the techniques discussed: I am recording with a Fireball plug-in (so basically having DI tracks), and if I am happy with all the tracks, I will re-amp them with my real Fireball. For me as an amateur this is way easier to dial in tones which adds up than "guessing".
If I need effects, I put them in front of a cab sim (own IRs) - so I get the pedal-through-the-cab sound. It is the sound of the real Fireball Line-out going into this signal chain.
Now I have to make a hard decision: If a track is finally recorded, should I commit myself by deleting the DI? Hmmmmm.
I got a lot of nice input from this video to consider. Please do more discussions like this: even if I like nice things it is also nice to learn how to actually use them :-)
I’m listing before commenting…
Hey there’s a first time for everything! Delayed my reactions but I thought if you were sending tracks to a pro you should send the sound you used and a Di just incase your sound had issues or needed some fixing?
In answer to the question in the thumbnail, reamping doesn’t make me dumb I’m dumb all by myself!
As others commented: you should do more of this talks. It's great, just to listen to your conversation.
And when Christian is doing something abour the POD... please make ist a Podcast... lol *dum dum tish
Henning is absolutely and exactly right. These are all the reasons I never got around to re-amping working for me. As a guitarist I react and interact with the actual sound. Re-amping makes that impossible. Re-amping is a thing for absolute emergencies. Or idiot simpletons.
Massive +1 for the first 2 minutes of the Video! 💪🏻 The rest is pretty decent as well 😁
Hello Kohle! Love You!
and me?
I love re-amping and recording DI in my little home studio along with the wet track. But not to entirely re-amp but for minor tweaks on the amp and pedals/FX afterwards. Such changes that I otherwise would have to EQ out or re-track. A tiny bit more or less gain here and there, a little bit more hair from a pedal, little less bass or treble, etc. Stuff that would probably not change the performance. If I find myself in need to change major things, I just track it again. But this is just a workaround for my crappy mixing and producing skills. 😁
Apart from that I love to group the DI track with the recorded wet track and fix some minor misses on beats on the DI track which get automatically applied to the wet track then. Because on gainy tracks its harder to see the transients.
For great reamping you need very good: pickups, cables, playing, DI box, audio interface, balanced signals, reamp box and e x p e r i e n c e.
Henning, have you tried the Oxford Drum Gate to capture ghost notes?
I HATE reamping but i love non destructive recording, safety nets and not commiting most of the time ... i just do not like waiting 5min until one guitar track is reamped, i use line 6 helix native or other good sounding vsts, the rest simply takes too long for me and i can safe settings. I want to record at least without a cab to add IRs later... Comminting to a tone leads to more work in the DAW, because you make it work with the tools of your DAW, reamping or vsts mean you do not tweak as much the post effetcs but the amp ... i also love D.I. tracks and ultra clean track without bleed but sometimes there are sounds i NEEED as commited tone, there are some tones that are simply only in the original gear and sound crappy in the digital realm ... here i love commiting to a tone BUT if possible i record DIs as a backup ... but idk i am a idiot so who cares :D
If I was going to consider a whole new career I would love to be a studio engineer and experiment with all of these recording techniques to get different tones. It sounds very fun
Cool video. I will never dedicate my time to reamping again. Thank you for the input. I think you 2 make a good TH-cam team. Maybe you should think of doing more stuff together… Yes the video is a bit lengthy but again, there’s a lot to learn from both of u.
I forgot: the Gibson Nighthawk is an incredible guitar, although it’s a Gibson. Full scale loads of sounds - superb on the Princeton Recording amp…
Fun Fact: Keith Richards is still recording in the studio. PS: I am in team Henning.
Guys, where is the link to this hi gain guitar tone crafting thing you mentioned
They’re both right. They’re just not talking about the same thing and it boggles me that 30mins in Henning is still trying to counter Kristian by saying “in *not-metal* you wouldn’t do that so it sucks”
but we are acknowledging that it is possible OK for metal but not for other styles.... we cover that
22:22 true fact, i gave the god delusion to my mum as a christmas present ... a year later she gave me a book called "the atheist delusion" :D
up to the artist about drum samples if you havent space use vsts but commit to a personal choice for the project maybe, i play a midi kit but i dont grid the samples that helps, ive heard many tracks that use real kits and samples of the real drums in the session and they end up sounding like vsts anyway by the time they are compressed, the room ambience is more important for the overall vibe
@EytschPi42 One argument i totally support "Henning, you are too professional!" .. and this has also two sides - You gear tests are probably somewhat worthless for many of your viewers, as you can handle anything, react to how it sounds, dial it in and make it sound amazing you using it. - something probably a lot of people can't replicate.
And as a many years professional sound engineer / producer / musician - your ears can identify things in a sound (mix or single instrument) the most people are not able to identify.
However, that's also why i like you content. I could by gear XYZ based on you videos (aehm, damn, i did ... ) - this would not help me, but it is inspiring. And time to time i learn from what you do ... and improve somewhat ... maybe ... - thanks ... :)
26:33 i personally do not think the pod is bad, i know some songs recorded on the pod and the behringer pod clone that are cool BUT it is like setting the difficulty level of recording to "hard" because it is not easy making it sound okay :D with a great amp it is a bit hard to get really bad sounds out of it
These days I find it's much better to record the finished guitar sounds with burnt in effects.
Lol I was waiting the whole video for Kohle to lose his fuckin' mind. Too funny
Nah, it's too much fun to dial in a tone and try to capture it, you even get lucky accidents.
I get that bedroom musicians find reamping useful, I'm still 100% with Henning on this, you play with your sound.
Ok, you can capture a clean DI too, that's probably the clever way to do it, give yourself options, a failsafe but, come on, we buy gear, let's use it!!!
You know its a german guy drinking beer, when he opens the bottle with anything😂😂😂
The two of you should start a new series together about music, guitars, recording etc. Love watching each of you individually but together is TH-cam gold!
I guess nobody would ask Tim Pierce for a DI track of the performance.
So... when does the actual re-amping lesson start?
it doesn’t
@@EytschPi42 I guess I shouldn't have expected one. Still, cool video.
Great video from two of my most favourite youtubers.
Another point, why you should record with an at least similar tone to what you later will end up is that you might want to play live at some point.
And if you have a totally different tone live than on the recording the audience will notice and probably not appreciate it. In the best case for the guitar player they will blame the poor FoH guy for the sound.
@Henning when the punk guy comes to your place wanting to record you probably better don't give him your expensive guitars when you want to have them back in one piece...haha...just kidding
You shoulda promoted Kristiians course last! hes a good dude
Awesome
Back on topic (but blast beats rule!!!): As a homerecording guy with some decent semi-professional background and a lot of love for the heaviest of filthy (Death, Grind, Black…) METAL tones I can relate a lot to what Kohle says.
Yes, reamping would be something for us to consider. But we use chuggi-djenti-grindy-sacrifice a tofubaby to the satan overlord-tones with an overdrive in front of highgain-stuff. For us it would actually be cool to share presets with the producer/audio engineer and use our neural dsp/grindstein/Zilla cab tones as a reference.
I am 100% with you, Henning, when it comes to commitment. I don’t want to change everything in every stage of the process.
But we only have plugins that sound Great. And good guitars/Basses - thats probably enough. Our live rig is … well. Bad. Because of money. We don’t have several thousand of € for two fulltube amps with two specialized cabs and four to six expensive mics in a really great room … not when a 100€ plug-in can come really really really close to that with basically no effort.
But that’s another topic.
Long story short- We would need reamping…
(Don’t get me wrong, if we would have the money we would use the shit out of everything. But we just don’t.)
Ha ha ha, Fricker thought Kristian was a Satanist. That would be a fairly ironic first name for a Satanist! 😃
they spoke german in the end, whatdidtheysaywhatdidtheysay???!!?!?
I had my fat flabby low end surgically removed.
I have no idea why if you send someone your DI tracks you wouldn't send sound examples of what your hearing it makes no logical sense to ask someone for a sound but not give them a clue as to what it is and make their job so much harder.
Mr Henning is wearing pretty silly clothes today.
1:05 - you ignore a whole spectrum of fluid gendered people who might feel now oppressed by being forced into to a very binary perspective on the potential audience of the guitar related activity displays on your channel and the struggle of turning the misconceptions regarding the predominance of the duality male/female in asserting new structures of knowledge in arts, music, and performance fields.
WOW
@@EytschPi42 yeah, fighting the white-male-toxicity-supremacy in re-amping videos is not to be taken lightly, boys!
yeah, you really don't know me.
Nobody needs blast beats. I immediately looked like Kohle did. Same facial expression.
Not funny Henning. Not funny. I have to sacrifice something to my blast goat god…. Blast beats rule!
99% of ladies have no interest in technical videos