How to DIAL IN your guitar TONE for RECORDING!
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- Опубліковано 16 чер 2024
- This has been a serious issue for so many of us: We can dial in an amp and make it sound great... but in a mix it sounds terrible? What's the secret? I get advice from Scott Elliot, the guy who made Guitar Tone Mastery: The definitive course on getting great tones! Get Guitar Tone Mastery this week for only $129 spectreacademy.net/courses/gu... SALE ENDS SUNDAY NIGHT!
Reaper skin is "Fusion Beta"
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0:00 It's Scott Elliot!
1:13 About Guitar Tone Mastery
1:55 Scott's Number 1 Tip
6:00 Glenn's Number 1 Tip
10:38 Glenn's Number 2 Tip
16:04 Glenn's Number 3 Tip
17:06 Scott's Number 3 Tip
19:44 Scott's Tones In A Mix
20:40 Guitar Tone Mastery Flash Sale
24:27 Woods Of Ypres...
25:21 Thanks For Watching!
About Spectre Sound Studios:
I'm Glenn Fricker, engineer here at Spectre Sound Studios. I love making records, and after doing it for sixteen years, I want to pass on what I've learned. On my channel you can find tutorials on how to record guitar, bass, real drums and vocals. There's reviews and demos of tube amps, amp sims, drums, mics, preamps, outboard gear, Electric Guitar, Bass Guitar, and plugin effects.
We've covered Moon on the Water, played Bias FX, given you the absolute best in Stupid Musician Texts, ranted & raved about bass guitar, and this channel is where The Eagle has Landed.
Everything you've wanted to learn about recording Hard Rock & Heavy Metal can be found right here on this channel!
I also respond to your comments & questions: The best make it into the SMG Viewer's Comments series of videos. Loads of fun, lots of laughs.
Thanks for checking out my channel & please subscribe!
"Don't fix it in the mix. Get the fundamentals right, to begin with." I think it was Dave Pensado, when asked about some of his best mixes, once said "I didn't really have to do much to them. They were recorded so well, they practically mixed themselves." It can't be overstated how much it matters getting everything right before even tracking.
I don't agree with that. Why would I low pass and high pass my guitar while tracking when I could do it in the mix at the cost of a few MB of RAM? I'd rather not lose anything in case I want to use it later. ESPECIALLY with the high range of the guitar. Despite what they say in this video, a lot of mixes have the high end sparkle of a guitar boosted in the mix all the way up to 20k.
@@TheManWithNoName686 You're confusing two sections of the video. This was about getting everything (down to the strings) right before tracking. They (and I) weren't (and am not) saying to cut all the low and high end in tracking. That would be insane. They DID say that you don't want too much bass at tracking, which I would agree with. The proximity effect will take care of all the low end you'll ever need in your guitars with a moderate amount of bass set in the amp's EQ. But, and this is important, good room sound != good recorded sound. Listen through your monitors and adjust your mic position and your amp's EQ before tracking. "Don't fix it in the mix" means don't purposely record a bad sound with the intention of fixing it later. It also doesn't mean to irrevocably neuter your sound in the very beginning. Record a good sound, and you'll have less to do later.
@@TheManWithNoName686 turning the bass knob down doesnt remove the note you hit on the guitar.....kinda like theres no setting on an amp that makes the note NOT be played or heard....
what goes in the computer is different than what your ear processes and sends to your brain...
theyre compensating for that so what comes outta your stereo sounds how you want it too
@@TheManWithNoName686 you dont agree with getting the sound right before recording it?? Ummmm ok. Where I can agree it doesn't have to be perfect going in it does need to be close. If you have to much low end going in, cutting the bass in post will still sound muddy just with less bass. Too little low end and then boosting still wont get you the punch you need without adding unwanted resonances. Too much high end and you'll have a fizziness you can't get rid of and not enough will sound dull no matter what you boost. Theres definitely a middle ground sound you want to achieve before boosting or cutting anything. If you want to get better it might behoove you to take the advice from actual audio engineers who have been doing this for years.
Getting it right at the source is such a crucial point and makes life easier for everyone. I have been mixing some songs for some peers and I have been giving them suggestions about how they approach the recordings, particularly with gain staging and getting it right from the start. Little by little, their projects have been getting easier to mix with a lot less processing or correcting to get things to sound right. I'm a firm believer in getting it right at the source first.
I listened to a lot of isolated guitar tracks from various sources to learn songs, I quickly realized how thin or flat most leads sound without the rest of the mix. That helped me relax and stop trying to achieve the illusional guitar tone that the full mix creates. I stop screwing with the dials, play the lead part with the original backing tracks and it actually sounds fine.
Not metal, but Led Zepplin's first album is a great example of this. Jimmy Page's telecaster tone is absolutely paper thin on that whole album.
Awesome vid dudes! Always love hearing from Scott & when you guys collab! Always dropping useful tips & knowledge. 🖤
This was very cool. You both made great points about not only the sound of the mix but the sounds for the songs. I was really happy to hear things I've understood for so long come out of you two guys(minus the tech talk) and as coherent and to the point.
Thank You.
Great course for sure and so are all his other courses!! Grab em and dig in. Scott is a great teacher!
Great info here! My #1 top tip would be DONT BE AFRAID TO SUCK! Especially if you're just starting out. It's going to sound bad, it's part of the journey. Just get in there and do it, and enjoy it.
Absolutely! I make electronic music. When I started about a year ago I decided to just make sounds I like. I wasn’t even worrying about making music. I just had fun and got better as I went along. I eventually got to the point where I feel justified in calling myself a musician.
Yea you are going to suck. But keep at it and have fun.
"fake it 'til you make it" that is my motto. (But don;t pretend you know what you are doing lol)
Even if you've played for decades there are suck moments. It happens.
So good to see Scott back doing what he loves after everything he's been through.
Buy his courses they're great!!!
I got all of Scott's courses. Seriously worth every penny. Teaches you everything from how to establish effective work flow to understanding the mindset you need when approaching a project. Really made me feel hopeful instead of hopeless. Seriously get all of his stuff if you are stuck in a rut or need a boost on ideas. His drum course changed how fast I can bust out a drum beat for a riff. Cheers!
I highly anticipated this video! Thank you!
Great timing! I will be doing that this week!
Yes talk more about the sessions and mixing of Woods with Scott, that would be fun.
really really learned so much from this one, thank you!
Yes, Scott nailed in on the head! PLEASE bring him back on for an episode and talk about Woods 1! I also love that record and would love to hear more about how it was made
Awesome video and advice, much appreciated 🤙
Hey Glenn! Im currently working on a thrash metal track and i was ripping my hair apart to get the right tone and your IRs really saved me from giving up on the project. Thanks alot!
Excellent tips thanks guys
So happy to see S.I.T. strings getting some love! I was born and raised in Akron, Ohio and have been playing those strings since the early 90’s. They’re simply fantastic!
It’s super awesome to see Scott on this wonderful channel! Scott is an amazing sound engineer I really love watching videos and learning from him on his Chernobyl Studios! And he has really amazing courses! Guitar Mastery is one of them! Just in 1 course Scott opened my eyes how to create good guitar tone with plugins! I’ve been looking for the info like this for so long! Thank you so much Scott for everything you do! 😀👍🔥🔥🔥
Fantastic advice and hopefully more guitarists will listen to it. I once had to deal with a guitar tone totally unsuited for a band but the player would not change their sound at all. The time I spent getting to sit well in the mix was easily 60% of the total mix time (including mastering).
18:50 - That would be awesome. I'd like to see that video.
I watch a lot of videos about different genres as wall and this is not the first time I've heard the recommendation of not mixing in solo but with the song as a whole.
Yes! Glenn! Scott Woods! This video feels incomplete. There HAS to be a part 2.
Thank you guys for this video it's really helped me get more colors out of my tones but keep them from getting fizzy
The biggest difference in my mixes was hard shelving high and low end way more aggressively than I thought necessary. I was originally cutting out the frequencies I found annoying and leaving the rest, and wondering why my mix was muddy. Then I switched it around to instead find the frequency where the sound I'm digging disappears, and then shelving just above, or below that. Makes a huge difference in clearing up a mix.
@@TheEndless560 The biggest difference actually comes from cutting excess high end. Like all the way down to 8 or 6k. I usually just cut below 80hz on guitars.
@@TheEndless560 Worth noting this isn't in the context of guitar tone. Muddy as in a cluttered mix, not low mids on guitar.
I bought Guitar Tone Mastery back when it sold on Pro Mix Academy. It's an amazing course Scott does an awesome job at explaining everything. I've went back and rewatched the whole course at least 5 times. I highly recommend this course if someone doesn't own it.
Scott's courses on mixing guitar and programming drums have greatly changed my worflow for the better. I can't recommend them more.
This is super useful, even though I dont record or play metal. Seeing how these extreme cases get figured out goes a long way.
Great video Glenn!
more on topic: I started making aggressive cuts and have noticed improvements. hi pass at 118-120hz and low pass 7k for leads and 7k-6500 for rhythms. It's cuts out most of the fizz which forces me to be super tight and not hide a bad performance behind fizz. I will also boost between 6k-8k if the tone sounds too dark. And cut around 500 to get some boxy/honk out.
Yeah, I was a bit surprised by Glenn talking about cutting above 12k. There is nothing above 8k but unnecessary fizz.
@@mrcoatsworth429 He was being polite to guitars...hehehe. Though as you say, there's nothing interesting above 8k, but leaving a downcurve from 8k until cutting freqs up to 11k-12k does leave a different sensation in the mix, like more "organic"?... absolute BS wording there, sorry, but I hope I get my point across.
This was ridiculously helpful 🤘
Great and very informative video!
Also, here's another vote for more context about the stuff with Woods of Ypres 🤣
wow learned a lot and will take in consideration the tips mentioned here. i am going to buy that course about programing drums with the german guy
I only look stuff up if I can’t figure it out on my own!! Love the challenge!! That’s part of what’s fun !!
so glad that this video reinforced what i’ve taught myself
Scotts course does truly deliver.
Thanks, man!
Great suggestion on AmpKnob, I actually use it like a reference track for my guitar tones. I throw it on the L track and whatever guitar tone I'm working on 100% R. If that works and doesn't sound weird, I probably have a pretty usable tone.
Man, the very first point on the show just absolutely devastated everything i knew about guitar tone and it explains soooo much about what i have found myself thinking less than wonderfully about , when it comes to recording.... And once again, u peel off another scale of ignorance on my artichoke of a brain.....sorry for any comments on the frequency bandwidth of your tone, glenn!
I love this channel. I am en electronic musician. But still get useful information from these videos. My songs typically have 3 parts. Drums, Bass, and lead/top line. All provided by synths and drum machines. The drums and bass are typically sequenced. So I can easily have those going while dialing in the lead. I am planning with a new song today. I use a mixing console. When I get back in the studio I am going to use the EQ on the console to dial in the lead tone while the drum and bass are going.
So you have to think of this in terms of guitar tone. You can apply these ideas to whatever instrument is playing lead.
Great info even for us key pushers.
Keep up the good work and fuck you.
Former hardcore/metal(?) guitarist here now doing predominantly electronic music (with guitars sprinkled in here and there) and yes, these fundamentals are not limited to any genre. Too much at 300Hz is too much at 300Hz regardless of genre. It's all about making things fit into a limited amount of space.
@@tritonrecordings I record mostly folk and bluegrass with some jazz mixed in, most of this information I also find to be useful. I use a two inch so I commit early, I EQ and compress on the way in so I don’t need to wrench it around in the mix, I don’t want to boost either the hiss or the bias rocks too much on mix.
I usually cut around 120 and 12khz. Most of our stuff is in drop Bb so all that low end gets very muddy if I don't cut or run a sidechain. I'm already running a sidechain to the kick so it just blends nicely. We use 13-62 cobalt strings. Makes a big difference.
my approach is less bass more mids but not too much, I think it's been working fine but this is so nice, thanks for doing this!
Finally!!! Someone talks about using the bass to shape your tone!!!
Bass is way more important than the overall guitar mix.. it makes all the difference
GLEEEEEENNNNNNNN!!!!! Do you think you’ll be doing more bass and drum related content in the future? I know guitar is your primary instrument, but I figure every else matters just as much from a mixing engineer’s viewpoint.
Also, how about a video ranking guitar amp speakers in a tier list?
Bring Scott back, I’d absolutely love to hear more about the Woods / Black metal production!
Pantera is the band where everyone forgot about the bass guitar under a thinner Dimebag tone !! He used some thin tones quite often!! Took until Reinventing The Steel where we got to distinctly hear the bass!! Rex was super tight with Dimebag and Vinnie creating one solid tone!!
Rex is a boss! 💪💪
You can hear the bass without any issues even on Cowboys, just listen to The Art of Shredding.
I have learned that sometimes when you find yourself cranking one instrument or a few frequencies of an instrument to make it stand out better, you may need to do the opposite: Turn down the frequency on whatever else is competing with it!
Absolutely, I've experienced this myself.
@@VivisectorBand One of the few times "Less is more" is correct!😁
Scott's courses are killer. I recommend them to anyone.
Its like Euge Valovirta said in one of his videos, if you have to make big or corrections to your frequency bands, theres something wrong.
He explains this a the "some EQing part" on the video HOW TO DIAL IN A GREAT METAL TONE
Equalizer is means "taajuuskorjain" here in Finland, literally a frequency fixer or frequency repair.
A good way for me is to think about the sounds as words, guitar is snarly, bass is däng, drum is crash, clang, paks and thump, also to know which frequencies they live in and how.
I came across Euge Valovirta's videos one month ago for the first time ever. The guy is amazing, not only he seems to be the nicest guy overall: he's got the chops, he's got some serious knowledge and, oh my!, he's got the greatest guitar sound ever. No-nonsense explanations, all straightforward, lots of don't-do-this-because examples... I already watched quite a few videos, but he has so much material.
I dont see the link for the IR in the description? Awesome video Glenn!
First off, I need to thank you Glenn for the free IR - it is really good. I've started using it exclusively; I use the first one for rhythm and pump it up a little brighter, and the 57 one I use for leads and it makes the leads stand out just right as opposed to rhythm for my sound.
Probably didn't mean them to be used like that, but it works great for my rig, which is a Boss GX-100 actually. I have great Marshalls etc tube amps at my disposal and a huge number of modelers, plugins and hardware, AxeFX, Neural, Amplitube 5, you name it, but I find the Boss the best for sculpting my own sound anyhow, it just has so good routing, EQ etc options and IR load possible - and I've used those Bosses since GT6, only previously had to use external IR loaders or cabinet emulators for my sound.
And concerning this video - great tips! For me, I've used all these for ages, but then again I've been a tone chaser for about as long as you have so I've just already learned all this the hard way.
Especially for modelers understanding how to EQ your sound, and using different IRs is pivotal. To get a really great sound out of my Boss I use up to five EQs in the chain in different places, and those EQ settings can be rather contradictory between them too.
My starting point is to hi/lo pass my guitar at 160 and 6500hz, and after that I'll both boost and cut more for sculpting. For instance often it's best to create a different EQ slope by having a hard cut at 6500 BUT boost hard at 12,000 regardless. And then have individual dips here and there, or boosted frequencies.
But by far the most important tip, IMO, is to always adjust your sounds along with the mix, or even some similar music.
I always adjust my basic sounds while playing over various UA-cam tracks. That gives me a great understanding how will it work in a mix later on.
With the band, I make note of what kind of EQ or other changes I make - or the soundman of a venue - makes for my guitar at the DESK - and see if I can add those changes in some extent straight to my own settings.
As a result, most of the time when I give an XLR line to the soundman for putting it to PA and FOH, and in a while ask how does that work, they often say "I didn't have to do anything to it, it's great" and then I know I've succeeded.
I would also add one tip of my own: stop adjusting your tone constantly, stop chasing the tone on a daily basis and for chrissake stop buying new gear to chase it. Just use or decide what to use, sculpt your tone, and then just fucking use it, and only make small changes when absolutely necessary and when you have felt for weeks that you need to change it somehow.
Because guitars sound different in your ears every day. You can dial in the perfect tone and a few days later it sounds like absolute crap to you anyway. DO NOT TRUST YOUR EARS when that happens. Wait for a few days and see - it might sound great again another day without any change. Take your time and don't do changes too quickly but build your sound slowly enough that the daily changes in how your ears hear today won't throw you off the path.
You heard the man, Glenn. Let's have the video on the Woods of Ypres sound!
Intresting talk thanks for the video. Be safe and skilful. Pinge
Nice title update!
I watch another home studio UA-cam channel as well as Spectre sound. He always preaches GIRATS... get it right at the source. Strings, performance, etc. You can't mix out crap. The track needs to be solid. Great video today Glenn. Cool stuff to learn and build on.
I remember working with a metal band in the studio (it was a one day deal, get a single song recorded, mixed and sent off for mastering on the day) and the guitarist was ADAMANT he dialled in his tone. He'd just rolled the treble almost entirely off and boosted the mids and bass to like 9 o'clock and wouldn't listen at all when I told him we'd need to change the tone for it to sit in the mix because "I've worked forever on my tone, I want it exactly perfect on the record." So I let him have his way, recorded the guitars how he wanted them and LO AND BEHOLD the mix sounded muddy and messy until I did some SIGNIFICANT EQing on the guitars taking up a bunch of valuable studio time that could've been avoided if he'd just let me dial in the tone to suit the song.
Guys, please, if the engineer tells you that you need to change your tone, just listen to them. It'll probably save you time and money in the long run.
Tone has to take into account the band, and each song. Always striving for the perfect tone individually is not only selfish, but will hold the band back.
I fully agree. Thing is though, most people know jack sh!t about mixing and frequencies and sitting right in a band mix. So they set their tone to what sounds right in the bedroom, only to discover in rehearsal they either disappear into the band mix, or worse, get told to turn it down as they try to turn themselves up to hear themselves. The volume wars that follow have destroyed many a promising band.
@@chaptermasterpedrokantor1623. This is why it’s good to learn about mixing.
Obviously. Using a thick guitar tone is only useful if you're playing on a street corner alone without accompaniment. We're talking about fitting your guitars in a mix, not fitting them into the practice in your bedroom.
Some of these principles are the reason why a live band's sound can be huge. They're tight AF. That would be a cool experiment, measuring tightness to the micro seconds and observing where the line is; the tipping point; the point where a lack of cohesiveness fractures the holistic integrity of the music thereby making the product a sum of its parts rather than something bigger than the sum of its parts.. Kinda nerdy, but an interesting metric off of the floor.
I'd love to hear your thoughts on Primus. I heard Ler say he wasn't fond of the early mixing because they had less tools and knowledge. They have a sound all they're own...
Like 101 for Lefty fun fun fun!
My practice tone is bass at 3 o’clock mid and treble at 9 o’clock, for recording bass is 9 o’clock mid at 1-1:30 and treble just enough above noon to get the sizzle without fissile.
Hey Glenn! I absolutely love the 2023 V30 IR with my EMG-equipped Strat, but I'm curious if it's also ideal for bass? Personally I think my Ibanez SR with a bit of compression and overdrive sounds fantastic through the IR, but in your opinion is there a "better" type of speaker geared towards bass guitar? Thanks!
Definitely talk more about the Woods of Ypres sessions with Scott.
I was struggling with a muddy mix and high/lo pass filters on the guitar saved my mix!
The tip about shaping your gutar tone after you've got your drums and bass tracks down also works for live tones. I mean, I've got a pedal that loads IRs and has amp simulation, Cube Baby, and I've been tweaking it for live use with some tracks loaded on Reaper and I've been getting some really nice results, especially with that free IR Glenn's released. I learned the hard way during a gig. I thought I had a massive tone but after checking the recordings of that gig turns out my guitar sounded like a toy hah
Amazing advice at 19:00
I used to make the mistake of dialing in my amp to sound good in the room before recording. Since I added a little extra mids and high's in my amp EQ, I get better mixes. Its easier to cut frequencies in the mix than it is to boost something that isn't already there.
I'd love to see a similar video aber bass tones.
I'd live to see more bass stuff in general.
Yes. Glenn. Scott and Woods.
The V30 IR's are actually really good. I'm doing some updated demos for my next project and they work great. I wanted a kinda fat and saturated low to mid gain sound for some single coil neck position riff and chordy type rock stuff, so I pulled up the Marshall head in Ampire (comes with Studio One, not amazing), put an overdrive in front of it, loaded up both IR's and it's just what I wanted. Of course, I'll be using a real amp for the actual songs, but this made a good goal to shoot for. Haven't tried them on a high gain thing yet but I imagine they work just as well.
I have what I think is an amazing guitar amp, I don't have room for 6. It's a Fryette/VHT 100 CLX Pitbull. That said, I am going to use guitar plugins as often as possible because I can get so much more work done. I A/B the amp vs a plugin in about 2010, maybe a little before. It sounded the same. I was shocked. I was just going for a JCM800 tone at the time. The only disadvantage I see going forward, is the lack of natural harmonic feedback. I can fix that by just having a practice amp dialed in as close to the sound I'm looking for and the harmonic feedback will sound natural in the plugin, I hope, I haven't tried it yet. If I had a fully equipped studio and could afford to keep it well heated in our harsh winters, I would mostly record real guitar amps. If I could afford a fully equipped studio, having 6 or 10 amps would give the long list of amps I require that are now available in plugins. I am old school, but someday, tube will no longer be made and my amp will end up in a junk pile or in a museum. I'm here reading the comments, so I'm obviously trying to learn from the whole community. Rock On!
Many people try to copy the guitar sounds from a record that has many double/quad tracked stems along with bass that may have distortion on it too. Like you say getting a full great sound on the guitar path is great for jamming but for recording once you start stacking them up along with bass it’s not going to work at all. Along with cutting the bass frequencies out carefully, always dial back the gain distortion to the point where it sounds a lot cleaner than the end result. Once you track it a few times the gain accumulates so it’s going to sound bigger and rhythm will be tighter. If you track a bunch of super high gain guitars it’s going to be white noise with no definition.
Actual Belgian asking for more Woods of Ypres content. Thank you Scott. Feels like I had the same question 7 years ago 🤣
Rabea Massad and John Petrucci had a little video where they each strummed a single power chord. The tone of Rabeas chord... Oh my. That is a glorious thing.
This is a great info from guys with experience. I have a buddy that plays with gobs of gain and bass. He says.... that’s my sound. 🤷🏽♂️
Quick question guys? Is it possible to get that deep bass sound that you get from a cranked 8x10 cab at lower volumes while rehearsing?
Great vid! I’m trying to find your signature series SIT strings in your store but, can’t find them. Can I find them at Guitar Center?
Off the back of the improved performance and feel of new strings I'd add to polish your frets when you change strings. Smooth frets feel way better on bends and stuff and those little things matter when you're doing the performance that's gonna be kept forever on your record.
Yes, fucking yes, we need to hear more about Woods!
Glenn... I think I'm going to have to replace the tubes in my Hughes and Kettner Grandmeister soon and I learned that they have solid state replacement tubes... Wondering if that's a viable replacement so that I don't have to spend money on new tubes when they go out again...
I have an AMT-SS11 preamp pedal that came with solid state 12ax7 preamp tube replacements, which they call "WarmStone". They worked fine, but I replaced them with real tubes (with less gain, as I thought the pedal was too high-gain with regular 12ax7). Can't say how similar or different to real tubes they are overall as it takes a lot of playing with each to figure that out--"comparison" videos are often misleading and basically useless in that regard as they only let you hear a snapshot of a single setting in a single context, and rarely take into account other important factors like picking dynamics, fiddling with your guitar volume, room sound, etc. My impression is they do the job well enough...but on the other hand, if you start replacing all your real tubes with solid state "tube replacements", maybe you should just go with a solid state amp in the first place. I haven't heard of a similar replacement for power tubes, but that's where the real money savings would be, both in parts and labor.
What my pedal came with:
amtelectronics.com/new/amt-12ax7ws
New version with same electronics but different housing:
amtelectronics.com/new/amt-12ax7ws-le/
Sup guys, I'm new to playing with my laptop. So I'm ready to learn ..
That first Woods album was really good.
When a guitar riff is isolated in the song, like a guitar only intro, should you crank the low end up then turn it back down when the other instruments come in? Thanks
I figured this out ages ago after I saw someone complain that the guitar tone on Blizzard of Oz sucks. If you listen to an isolated guitar track yes it does sound pretty thin and weak. Listen to it as a whole and you see that it was done so it doesn't overlap with the bass.
Leaving room for the bass is great advice, not just for the studio but live, too. Especially if you have 2-3 guitars in the band. Nobody needs to be playing whole barre chords. Skynrd's guitarists would often break up one chord between 2 players while the lead did his thing.
I guess it's also why I never got the point of a 7 & 8 string if you're going to get into the bass's sonic space a lot.
what i'm getting nowadays is that i can get away with a little bit of scoop so that lead parts and vocals can get through without frequency clashing on the midrange with the rhythm guitars.
Yes Glenn more talk about tonewoods
Funnily enough, as a guitarist when I listen to music, the first thing I listen for are the drums. I'm a sucker for what I call the "gunshot" snare. Danny Carey's snare tone in Parabola, the snare in Switchfoot's Lonely Nation, some of Dave Grohl's Nirvana snare tones. I also carefully listen to the levels of the cymbals.
Can you go through how to shape bass tones for metal, using pedal boards and not amps
Wish I would have had these videos available to me when I mixed the first album of my old band... We literally had no clue :,)
I spent a lot of time doing the "dial in the guitar with the bass and drums playing" because of how I tend to do line and sound checks. Once I get the gear in place and I have mics on what needs mics on it, I just tell the band to "play", and I just start dialing it in. First drums, then bass, then guitar(s), then keys(if applicable) and then vocals. I really try to avoid the solo function unless I'm having problems with something or just to sanity check. I once had to deal with this one band that decided to have 4 7-string guitars, all heavily detuned and wondered why y they usually sounded like crap, and why their mix sounded good through my board. I just engaged the high pass and rolled all that sludge out, leaving room for bass. Building the guitar sound in the mix is so much easier than trying to make that solo'd signal fix in there right.
Hello, I bought guitar tone mastery back in may of 2020. I am curious as to how I can find the updated material. Thanks!
A shining example of that first point Scott made is ‘Bleed’ by Meshuggah, that bass tone is fucking massive and you don’t realize it until you hear how thin and Tinny the guitars sound on their own
So... If making the guitar and bass fit together and not take up the same sonic space is how you get good tones, how would you get a good bass tone? What if you wanted your metal sound to revolve a little more around bass? I don't know much about bass tone period, but if you're not cranking the gain the same way you are on the guitar, do tonewood and pickups matter? I'd love to see a series dive into that
Glenn I know this is off topic, but I'm an amateur audio engineer who dabbles in the audiophile hobby. I have recently seen alot of mixing engineers using Sennheiser headphones. I was wondering if you could ever do a video about what kind of benifits you get and how you ended up using open back headphones for your setups. It would be great to get an actual mixing engineer's take on the subject since there's not alot of feedback from actual engineers on mid-high end headphones as opposed to people who speculate on how things 'should' sound like when they purchase a new piece of gear.
Shoutout to all Sneap Forum alumni… what a great community it was!
I typically push mids. And turn treble up some. My bass setting for guitar is like 3-4
Great vid and perfect timing! Trying to pull out an ultra heavy cover of a KISS song...been struggling with getting that low A string to sound NOT like a bowl of gravy. Now I realize that I've been just worrying about the guitar tone on it's own like a dumbass.
Thx eternal Glenn & Scott for the tips! Will send for a mix review when this monsta is done being created
Would that song be "unholy" by any chance?.....
@@dougulman6700 no, but great song! Strutter was the plan, when I saw KISS last they didn't play it so I've had a personal vendetta about it ever since
🤣🤘
If you're running humbuckers with a row of screw-in/adjustable pole pieces. Consider removing the pole piece from the pickup that corresponds to that string. Did that on a S-D JB pickup in the bridge position. Just pulled the 6th screw all the way out. Muddiness was GONE!
YES GLENN, BRING THE WOODS!! 😁
I totally hear you guys. But at the same time, some of my fave sounding records do still have scooped, guitar forward mixes.
Perhaps there is a balance point between those intuitions and not totally sucking from a pro standpoint.
Mr. Glenn, everyone talks about using HPF and LPF to size the guitar sound especially to fit it in with the bass. But nobody talks about guitar "mids" and how they affect the bass when you are trying to get the "top" tone of the bass to stand out a la iron maiden, etc. Especially now that small speakers are the norm, I wonder if if you want to hear bass, you have to boost the treble.
Where would you set your high cut? Ive always looked at the frequency response of the speaker I'm using and set it where that rolls off, is that right or should I be setting it higher?
I think a video on this would be cool. Like from start to finish. Cleans and heavy. Also with bass etc.
Most people want to know because they use digital stuff. Most things out there base off of amps and real drums and the process for ez drummer 3 and helix for example is quite different.
Iv got an alright sound going but always feel there’s something that is missing
Be cool to see it done really basic
String tone with use becomes dull for two reasons, grime and sweat from your hands and also to a lesser extent metallurgical changes caused by vibration which happens fairly quickly, both reduce the ability for the strings to produce the higher harmonic overtones we associate with bright and spangly. If your strings are old and you really can’t afford new, boiling them in a pan of water for 10 minutes can get them back to a reasonable clarity.
Yeah finally. What's the secret to a super heavy guitar tone? An amazing bass guitar tone with low end that you can build on. Then a tight performance between the 2. Listen to old Entombed records, the guitars bring all the knar but the bass brings all the thickness.
I know this isn’t metal but D Boon from the minutemen is a master of the first tip. No mids, no bass, all treble. The presence of his tone along with Mike watt on bass makes some of the loudest music I’ve ever heard even though by itself his guitar is a little thin and trebly
It's the old adage "You can't polish a turd". I think that's the sort of principle here. That and understanding the guitar lives in the mid range. It's so tempting to just want to make it sound nice in solo but context is king with the mix.
"In the Discovery Channel series MythBusters episode "End with a Bang" (Episode 113), which first aired on November 12, 2008, hosts Adam Savage and Jamie Hyneman investigated the truth behind everyday sayings. They used the dorodango technique to create dung spheres in order to bust the myth that one "can't polish a turd". Using a glossmeter, they measured gloss levels substantially higher than the value of 70 gloss units, which is considered "high gloss". Savage's 106-gloss unit dorodango used an ostrich's feces, while Hyneman's 183-gloss unit specimen used a lion's feces. They therefore deemed the myth "busted""
So apparently, you can polish a turd, but you still can't make a good mix from bad tracks.
@@skaldlouiscyphre2453 😂
Have you tried the DR Black Beauties coated strings. They have a darker sound and I think they stay in tune a little better.