13 Mistakes to AVOID Recording Guitar in your Home Studio
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- Опубліковано 15 тра 2024
- There's quite a bit of confusion among guitar players who are starting their recording journey. Here's a list of common mistakes & how to avoid making them, so you'll get great mixes FASTER!
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I've been loving these "__ Things to avoid when..." videos, always so useful, helpful and easy to understand. Might go on a little binge of all of them next. Keep em coming! Thanks, Glenn!
What’s giving YOU trouble?
Stop thinking like a guitar player, and start thinking like an engineer! Don't worry about not thinking like a Bass player though, as they don't actually think.
The reason I like using sampled bass guitar is because no one named Tiffany shows up 😂
Glenn - these are seriously awesome tips. And I love how with most of them, you admitted "I am STILL doing this!" rather than a "You're a bunch of idiots if you do this!" - it shows that even professionals with decades of experience are still learning and improving. Kudos sir!
One thing ive liked doing is using the drum set as the "anchor" of the mix. A lot of guitar players write the guitar riffs first so that ends up being the anchor, and usually you can tell in the final product. Even if you write the riffs first. Start with fleshing out the drums then work your way outwards, this will help the track have a less guitar-centric feel to it. And as much as we guitar players would hate to admit it, the true core of rock music is the drums.
I literally rite all my songs,drums first,a good rhythmic drum track can inspire great riffs that don't sound so much like everything else,it's backwards but it works for me because I was a drummer first,but your comment is dead on.
Speaking of the line 6 POD. It's amazing how much the tone really does come from the speaker. For funzies, I dusted off my old POD and turned off the cab and replaced it with an IR in reaper. You can actually get great tone out of a POD..... if you take out the biggest part of the tone and replace it with something good.
I did the same thing with my old BOSS ME-80 before I learned the magic of speakers. It sounded good as an effects processor through my amp but direct recording into the computer sounded very "screechy." I ran some IRs through the tracks and I was blown away by how good it sounded. It's awesome how modern technology and methods can make old gear shine.
Yes, tried the same with my old behringer Vamp 2.
I had a guy come over and jam once who was using an old Boss multi effects unit and we basically plugged into my Apollos and ran out of my monitors while we jammed. I had my bass tone setup and it was sounding great but he was running a preamp with his effects with no impulse response. I asked him if that was how it always sounded and he was like I can’t figure out how to make this sound good. I threw on a UAD amp sim, bypassed the preamp and just ran the power amp with an amp sim and he was blown away with how good it sounded after that lol. I explained he just needed an impulse response to filter his tone but I have a feeling it all went over his head lol.
I’ve run through a LOT of amp sims, but I always find myself going back to my old POX X3 Pro with Line 6 Big Bottom for low tunings and the Mesa Mk IV sim for more standard rhythm tones. Been pairing both with Zach Householder’s Marshall 1960b IRs and the POD sounds monstrous.
That's been my bedroom setup actually. A Line 6 Pod into a good quality speaker and it has the great tone of a typical setup with the convenience of the Pod.
"Highpass EVERYTHING" was like the second thing I was told about when I first tackeld mixing (only a couple years into it) and it literally blew my mind how much this helped. Opens up more than some frequency space and kind of cleans up a performance (kick drum flams, bass rumble) and I feel like I progressed light years once I started doing this. As for the headphone/monitor section I personally like to adjust individual EQ's and find tones on drums and DI guitars/Amp sims before switching to monitors to mix it all together, works for me at least. Just one of many processes someone could take!
All in all, your videos and community have certainly helped keep me motivated Glen and has made the learning curve fun also gave me confidence to track my first band last week and can't help but laugh harder at all the "no one practices" or "learn their own songs" comments you make as I got my first taste of that haha.
Thanks for everything!
This is one of the best videos you've ever made dude. So much stellar information and the practical examples included make this a video I'll definitely be referring to for some time.
Here's a video request. Do the same thing for recording/mixing vocals. Take us through the vocal process from start to finish. Recording/layering/editing/mixing. Cheers from Birmingham, the home of METAL🤘
Great video! Hope all is well!
I own the VSX and one thing I will say about them is that if you're stuck in a terrible acoustic environment (which is me), they seems to produce far better results than monitors. I have a much easier time mixing on VSX than on my Kali LP 6s in a terrible room. That being said, I have no doubt if I improved the space, mixing on the LP 6s would be at least as good or better.
Yup, when everything on my LP6 sounds perfectly level, i know my drums and bass are WAY too loud. I have a suspended floor that sucks the low end out of the room. They have to be a little buried, i spent way too much time learning my room disadvantages instead of making it easy and spending some money, lol.
Yeah, thats exactly one thing that i feel is allways missing when making this point. Yes, monitors are better, but how many people who are trying to record in bedroom can actually make their space properly treated? Not only is it expensive but i allso might be phisically impossible, in which case using headphones is going to probably produce better results for lower price.
Also another thing that i have learned that seems very important that doesn't get enough attention, you really need to be familiar with your monitoring device, especially headphones since if you really know what sounds good on them, you can produce decent results as you know what to look for in your mix.
The IK Multimedia iLoud monitors are a great choice for small shitty sounding rooms, the ones with the mic to calibrate the monitors. They're near field so they keep the sound tight at close range ✌️❤️
Hey Glenn, I’ve been struggling with this for years. A very very BIG THANK YOU VERY MUCH for this elaborate video. This is going to make my mixing so much easier AND better!! 🤘🏻
These are the killer videos that made me sign up and follow you Glenn! Great stuff! Will also be adding some of these plugins to my near future purchase. Thanks man!
This is one of my favorite videos from you Glenn. I learned so much and next time I record a track I'll make sure I'm not making any of these mistakes. The highpass and compressor thing was an eye opener. Hoping I can make better mixes now
Glenn, great stuff as always. I learned about double & quad tracking waaay back in the day, reading old Guitar World & other Guitar magazines from the 90s. All the interviews and articles, Artists would talk about stacking guitar tracks. From Metallica, Smashing Pumpkins to Alice & Chain's etcetera. It is definitely part of the "Secret Sauce". I'm using the Townhouse Buss compressor from Plug-in Alliance on certain Buss groups. It and a few others live on my Master Buss. Working with a touch of top down mixing. I also have distraction issues. I'll get up early, before the Wife is up on some weekend mornings & will sit in the Studio & have my cup of coffee while watching your & a few other channels before I get going. Get some of that out of the way lol. I really started using & learning how to implement HP & LP filters a fee years ago and man oh man! It really really does bring clarity to the mix. Especially whith proper panning, getting things to "Sit" in the mix. Also blending Amp sims with some live amp/mic'ng. So much to mearn & implement. And yup! I have room treatment & some Adam Audio TV7's and I'm always double checking my mix in My Wife & My Car. #ForeverAStudent. Thank you for all your hard work & information! I always pick up something new from your vids! 🤘🎶🎶
This was a great video Glenn! I know you’ve regurgitated all of this for years. But the updated software demos along with the explanations are killer!
Very informative, constructive and positive. One of your best videos to date Glen, you really nailed this one. I'm currrently recording my first album, and there's loads of great tips here.
I really like how when you were talking about the high pass filter you referred to the space as "audio real estate." It really helped me to see how each frequency wants space and if they start overlapping it causes trouble. Good anaolgy Glenn!
One of the best episodes in a long time, a perfect balance of detail and getting to the point. Really enjoyed this one, even though I knew all these points before, mostly from watching your videos for years!
Thanks for making this video and these were very helpful tips on recording guitar. I too struggle with distractions when mixing.
Just discovered this channel. Love the content and delivery, no fluff, lots of killer advice and experience that many people charge for. Keep up the good work my man from the UK.
Interesting. I do the exact same thing with the triple tracking - a 3rd track down the middle 6dB lower than the other two. Had no idea they did that on MoP, I thought that was quad tracked. The mid track doesn't really beef up the sound THAT much - it just kind of gives the guitar more substance and helps it sit in the mix better. Without it, sometimes the other two tracks sort of disappear somewhere back in the periphery a little bit.
I'm always happy to see that despite all the bass player jokes, Glenn recognizes the absolute NEED for a great sounding mix, the bass has to be AUDIBLE. Absolutely fabulous video, Glenn! Keep up the good work!
No bass = no heavy = depressing sound
Thanks for mentioning the automation on the rhythm guitars. It's an extremely useful tool that helps other instruments shine when its their turn and I feel like it's an overlooked technique in the amateur world.
I've been watching and learning from you for years now, thanks for doing what you do. My 16 year old son is getting into recording metal, so I'm actually here to link him to this video and share my love of recording metal music with him. So another thank you goes out to you for making my job as a metal dad a little easier.
Hey Glen, i really like this format. Very useful information and explained in simple terms even a bassist can understand.
Not super over the top, shows the genuine desire to help people, all with the signature charm of Glenn Fricker himself. This is probably the best executed video you've ever made, and you have quite a few gems. Well done sir
What I like about this, is most of these tactics apply not only to recording metal, but electronic production as well. The automation tip to drop gain and allow space for other parts is crucial (well for those of us that actually compose music instead of just playing riff salad). My songs sound so much more dynamic now, AND I don’t get wild fluctuations in volume!
Wow… easily the most helpful home recording video I’ve ever seen. I’ve been working on an album’s worth of mixes on and off since November of 2021 and I’m never happy with them. My goal is to try out a few of these techniques and submit a track to a Monday Mix Review to get some feedback. Thank you, Glen!!!
Happy to help!!
My mixes are rarely finished they’re abandoned.
Great tips, Glenn, useful as always! By the way, should mastering settings differ depending on the end source (CD, Spotify or UA-cam)?
Hey Glenn, even with the examples you gave us about multitracking, i'd argue that the bigger/wider sounding one was the hardpanned 2 guitars one. 3 and 4 tracked feels a bit more claustrophobic (which can be heavier depending on the context), but the less sonic space in the middle makes it sound smaller imho. What do you think?
Hey, I have a q on the 2 guitars. I always think of the Joe Perry - Brad whiteford style of rhythm guitars where the 2 guitars are playing diff parts panned slightly (30-40%) on either side.
I am currently only tracking 1 of each rhythm part. Shud I track 2 of each? Also if I am tracking only 1 each, shud this be hard panned (100%)?
Definitely my favourite video of yours.
When i first discovered compression years ago it changed everything.
Thank you
Thank you so much for putting this video out when you did! My bandmate is coming to track guitars this weekend and this video is already saving us headache!! Cheers from Texas!
Glad I could help, Tyler!
Glenn. I had the same delay in Reaper. Only way I found to reduce/get rid of it was to change the media buffer size in Anticipative FX processing setting.
Glen you are a fountain of knowledge, and I am dehydrated. I'm backwards and have done the 3-track thing but the 2 panned left/right were at lower gain than the center guitar track. What you said makes sense imma do that next time. Mush love.
Thx Glenn! Especially the volume control between Lead and Rhythm was a eye opener
Great video Glenn, so much great information here. Apart from using the SSL plugins.
I absolutely love this video. You explained a lot that probably wouldnt have other wise known or been able to utilize. THANK YOU GLEN!!
This is really cool since tech prices are making it more available for regular people to record their ideas. And if done right, comes out as music. Not a wall of ooze. Until, like most metal bands today, hire "Cookie Monster" to sing or whatever he does, then the "ooze" returns. A muddled mess with inexplicable and understandable vocals. Listen to Glenn, he knows what he is doing! Thanks Glenn. Great channel, and hope you get to record your "opus" soon. More Glenn in the world would be a good thing! :)
Awesome video mate. So much great information and demonstrations.
Love these vids Glenn.
Also, what happened to the old desk? Didn't you get it custom made?
I learned from a great mixer to turn off the monitors to finish the mix, just like you showed in the car, it's really important to change perspective and check how the mix sounds on consumer devices. Now I always check the mix on my phone, my laptop, my car and a cheap bluetooth headphone. A great mix will sound good across all devices, with some limitations for sure, but a great mix sounds great on anything.
I actually bought the SSL Bus Compressor 2 when it was on sale a while ago, $14.99 I think. Regular price $329. 😳. Hadn’t used it because I had been using the Focusrite FAST Compressor on my mixes, but that plug-in seems to introduce artifacts like static & pops. So I put the SSL on a mix instead with the settings you list in this vid, & damn! That sounds killer. Way better cohesion & overall response for the mix. Thanks Glenn! 🤘🏻
These are some great tips, especially the part about taking breaks and considering your mental condition. I work full time and write music as a hobby. I often find myself 'cramming' working on music on my days off, often spending 12+ hours at a time working on things with little to no breaks. It isn't healthy and it doesn't help the music.
I also loved the tip about listening in different environments and from a different perspective. I've had some of my biggest breakthroughs in writing when I listen back to works in progress during breaks at work or while in bed before sleep. The only problem is when an idea comes to you and you and you can't immediately write it down. There are more voice memos of me making all sorts of crazy noises on my phone than I care to admit.
I do have a question if you end up reading this. I am in a sub-optimal mixing environment. It isn't BAD (carpeted, non-square room), but there is no proper acoustic treatment whatsoever and the folks I am living with probably wouldn't appreciate listening to the same 3-4 minutes of music for hours on end. Therefore, my headphones (DT 770 Pro 250ohm) are a better fit in my situation than my monitors (JBL MkII 5).
Taking this into consideration, would you still recommend using monitors as a primary mixing reference, or to proceed with headphones as the primary w/ monitors to double check when I won't disturb others?
Honestly glenn thank God for your videos, I got accepted into 2 audio produ tonight schools OIART being one but never ended up going due to cost. That being said, as a guitar player, I had no concept of how to build a track and you've helped alot with that
Your videos have helped me immensely with my home recordings. More solid advice from GLENNNNNN!
That amp sim sounds killer 🔥
When I double track I use a different amp sims on the left channel then I did on the right channel.. I also reduce one side's volume slightly.. very slightly.. This gives a nice wide sound.. at least it works for me..keep doing what you're doing Glenn
Thank you, thank you, thank you. One of the best, most informative videos of yours that I have seen, and that's saying a lot. Thanks so much, and keep up the great work!
Well, I’ve been watching this show (I think since the beginning) and I really am a fan. Every video helped me grow from guitar player to musician. But it’s the first time I drop a comment (like ever): Wow man, this time you nailed it ! This video is certainly the most useful video for someone willing to record something! And hell! It’s free! So thanks for everything ! Question: for quand tracking, I tend to change amp sim for the two « inner guitars » what do you think of that?
Big shout out from France!
Thanks Glenn. That was VERY informative..... cheers mate.
THIS is the video I’ve been searching for! Thanks, Glenn!! 🤘
Love these videos! Thanks as always for the clear and pointed advise on where to spend our time and money!
With regards to the first tip, it might be prudent to dial the distortion back a bit with every stereo pair that has to be layered. Especially if going beyond 2 pairs
Glenn! Im going to be building a 12’ x20’ studio out of my garage and i intend to do full band tracking and my own mixing and everything. I would love a video on what stuff you do/dont need for a “bare bone” setup. Especially where i know im gonna run out of space.
16:25 reminds me of the classic Mechassault OST. For the Grasslands theme, the guitars seem to be a little weak in the low end at first, but when the bass comes in, it all fits perfectly.
Oh man!!!This is awesome Glen.A great long video with very in depth knowledge of your years of mixing.Thank you so much.👍Where can I get that song to listen to? And "the eagle has landed"? Thanks man.
Glenn this is fantastic! I'm going to be using this right away thank you!
You’re very welcome!
Outstanding info! Thanks Glenn. Love the high pass info!
Question regarding checking your mixes in a car. What if the car has a subwoofer? I imagine it’s a good idea to check to see how it sounds with the sub at the very least (like how the Slate vsx headphone app lets you check with various speakers ). However, for a final test should I just dial the sub mix down or turn it completely off? Thanks!
12:46 You know Glenn, I've really been stumped about the Buss Compressor in its use. Thanks for the tip!
I've used the center guitar trick for a long time... it definitely adds something to the overall sound wall :)
Actually this is good advice in regards to giving the audio special separation. I haven’t done this with music, but i was making a audio bed for my radio station and i had the girl that was doing the voice over work, do multiple takes. And what i did was separate the two, then pan one slightly left and one more right, it broke it up and gave it that full sound like you here on pro radio..
If that makes any sense.
High passing is like magic. I just make some electronic music as a hobby. Playing around with subbass, I would highpass the bass and kick tracks a bit higher which opens a lot of needed space for the subbass. Suddenly the bass is clear, kick is punchy, while the subbass is powerful but doesn't get muddy.
10:22 is exactly what I needed to know. Getting all those frequencies for each instrument, listed by one guy I trust! Dude I can’t thank you enough. Most of this has been learn by doing. However, hard fast rules like this help so much.
To whom it may concern (essaying incoming...):
About double/quad tracking, the widening effect caused by the perceived difference in timing between the left and right panned guitars makes them sound bigger, and this is the sound and to get that sound you full pan the two takes left and right. However in terms of mixing decisions this is actually a pretty big move. By ultra widening a major part of the mix, in this case rhythm guitar, they sound bigger in terms of sound stage but will often lose a sense of immediacy and punch due to losing the mid channel information and pushing them to the side channel. Nerdy technical shit like phase correlation aside (which usually only starts to really matter when in the mastering stage, pro tip let someone else like a mastering engineer master your mix) I usually find that adding that center channel information back in gives the most full bodied and massive feeling result.
Do this by either the aforementioned Master of Puppets thing where you add a third take and center pan it or better yet imo quad tracking and pan two of the takes somewhere between 80-20% left and right( i almost always reamp these center takes with a different amp sim to further fill out the spectrum) After that lower the volume relative to the wide guitars, EQ the two sets of guitars following the guideline that the side gets a high end sparkle emphasis and the mid gets a mid frequency emphasis (to taste and in context but usually starting above the fundamental frequency of the snare), and imho the crucial part omitted in this section of the vid, MIX it with the other most prominent features in the mid channel, usually Kick, Snare, Bass guitar and Vocals by sidechaining a filter or EQ band to duck resonant frequencies of the kick and snare transient peaks (where they get their punch from, say 61hz for the kick and 200hz for the snare for example), high passing the area where the bass guitar lives and sidechaining a compressor to ride the guitars to the vocals like half a db of reduction in the loudest parts of the vocal. Remember: All this usually only needs to be done to this degree for the center panned guitars as to give priority to drums, bass and vocals that live most prominently in the middle. Variety tip: bus your center guitars together and process that to save time and compute.
That'll be $20,000 in tuitions per person please D: I'm sure that'll help someone...
no but seriously TLDR:
1. Quad track, it's just better.
2. Balance side and mid channel information across the 4 takes and ninja process with other prominent elements in mid/side channels of the mix.
3. ????
4. Profit
ps. If you only have two takes you can copy them and slightly change the timing of the copy (like dragging it slightly early or late relative to the other take) to avoid the accidentally mono effect and make it sound wide.
pps. great vid bro, actually a really straightforward introduction to the basics of mixing guitar music and some good life advice there at the end for budding mixing engineers.
Thanks man, first full video I've watched even tho you pop up on my UA-cam feed regularly.... I don't need the info at the moment as I'm tech-phobic😉 but maybe one day I'll get over it. I'll continue to watch whatever UA-cam decides I need to learn from you, when I can👍
Great content. Thanks for all the useful information.
Fantastic video with some great knowledge being shared. Thanx grandma.
I like to automate low end to reduce on the kick eq when there is double sections then bring it back up to maintain sub when there is space.
These vids are very helpful, thank you so much for these
This video is a gold mine!!! Thank you Glenn for making these videos. I've been following you since "The fans deserve better" video and it' crazy how much I've learnt from you. Thank you so so much
I don't think you realise how much of a help you've been to all of us. Thank you, keep up the awesome work. Love from Bulgaria :)
I find ducking some of the highs/string noise/clacking that occurs when playing bass actually makes palm muted sections on guitar sound a lot punchier/tighter and more on rhythm. Dream theater did this a lot, albeit on some records the bass did sound inaudible while others sounded really nice, so it’s a fine line.
Great video. I appreciate the tips! Are you not recommending the Kali's anymore for monitors?
Just started home recording after playing for 15 years. Mistakes a plenry but so much fun. Thanks Glen!
Was doing the car thing a lot, but since I have Amphion monitors (and also tbh a better acoustic in the studio), I can get rid of the car step ...
Also for the mastering, I tend to use stems mastering which helps a lot to correct a bit things as a last step. Just my 2 cents :)
Great tips and content.
As I've seen on comments I agree, what helps is the performance, tight 'n locked in.
Cheers from Sweden
Well made video good way of making the mix info simple.
We need more stuff like this
Thank you very much! I’m happy to help!
Master, I´m about to record my band, and your videos are just great advice for beginners, I wonder if I can get back to you later. Thanks.
I don't even record but holy some treasures here! I actually usually just use plugins to play with headphones in my house, and sometimes record single tracks if I nail something cool.
I'm using a SSL clone vst (from Frank Pole) and there's no "auto" function for the release. There's is a smooth function to sort of replace it by adding a sustain, but what should the release be set to get as close as possible? Also there's no visual meter to get close to the 4 range like suggested. What exactly is that meter reading and what's a good way to emulate it through another vst. Thanks for the help🤘
One thing I like to do when I get into a mixing session that's going to last a few hours: I start out listening at a relatively low volume level and I increase it a little bit every hour or so. At the end I'll be listening at a considerably higher volume. Your hearing changes over time and your ears just get tired so I found it's not a good thing starting out super loud. Of course I'm listening over studio monitors not headphones. Cheers!
0:45 the way he said "ain't gonna cut it" sounded so fed up! Almost like he was saying "I can't believe I have to tell you this" 😂 Love it
Hi Glenn! Love this series of videos! It really helped me improve my mixes, but I have a question: Is it possible to create amazing sounding mixes while using mixing headphones? Thank you for making these videos!
I answer that in this video
On the bass subject, can't sleep on side-chained compression. Create an audio track, route your full drum bus to it and output it to "sends only", then place a low-pass filter, only allowing anything below 80-150hz or so, then side-chain that into a compressor on the bass track to duck the lows on the bass when the kick drum and toms are are sounding out. I like Native Instruments' SuperCharger. It's free, it includes tube emulation, and makes bass guitar really sing in the mix. And I use a lot of bass guitar in my mixes.
Another great video man 🤘🤘
What would be the best peak level db for the master track? I don't know what to aim for. Is it like -10db max?
Thanks.
Man, this is such valuable advice!
Thanks, Glenn!!
the one about using a highpass is weird to see, because when i started and wasn't too knowledgeable on EQ'ing, thats what i did as a simple way to place everything in diffrent areas of the mix.
so its weird to now go back and start doing that over what i do now haha
Hey Glenn, I just wanted to say thank you for all the tips and lessons in this video. My question is this: I have JST Maximizer and for my 1 min songs I send everything to the Max plugin and send that to the Master on Reaper. My sound some out balanced and the volume low and I never seem to get that big sound I am shooting for. I don't touch any of the faders and for the instruments I use EZDrummer, EZ Bass, and Otto Audio's 11 11 for 90% of the time. Thank you For your time
Hey Glenn, Love the videos you always keep on doing great work and always keep me entertained. I do have a question though, Have you ever checked out the new TC Electronic amp pedals they’ve just recently released the metal ones. They’re only $150.00 USD thought they would be cool to see on the show. Much love and cheers from New Mexico USA.
Amen, Amen, and Amen again to the hi-pass everything. If there's one single thing that helped me to get rid of the mud and what I describe as the "veil over the speakers" effect, it is using hi-pass (and if necessary, even low pass) to get rid of unnecessary gack. Yes, not a question of "do I or don't I?" but a question of "how much can I get away with?"
Re: double, triple, quad-tracking guitars..... I basically never do more than 4. I find that, after that, too many multiple layers of the same thing actually start to sound smaller. My go-to is double-tracking. With too many layers, you start to lose the "air between the parts" and it's like they all start suffocating each other.
Would be so grateful to know that riff at 18:53..sounds familiar.
Tia!😊
This was very useful information, thank you!
great vid again. I love the idea of that plugin that doesnt define what the chain is made of. On the other hand, most guitarists have no clue how their amp/cab would sound like if it was recorded in a studio, hence the connection between reality and recording falls apart. I still use the Line6 VST plugins just because of that. The tone is good but not great as there is too much going on in the lower and higher regions imho and Hi or Lo cuts don't seem to solve that. That said, I will never constrain myself to "this amp" or "that cab" but it just helps deciding how you make your ensemble faster. I once used a vox AC30 amp preset for a centre recording because it had the right colouring for that project. Or a Bassman for wide grainy overdrive instead of the obvious Engl whatever. I'm kind of afraid I'd be jumping from sound to sound on this plugin and also forget how each preset sound like.
I'm trying to say that I would be working faster with a recognisable description instead of having "IR01" as a description, given that you shouldn't restrict yourself to the sounds you're used to. But I back up the idea that it avoids obvious choices.
Question about the headphone vs monitors. I fully support your idea about using monitors instead of headphones. But what do you do when you're situation doesn't support using monitors that much? I'm living in a loft kind of environment where I can't "form" my acoustic coccoon that well. I have a few decent headphones lying around and tend to alternate between them so I get a mix that sounds good on all of them. I kept away from buying monitors, also because family members walk around in that area too. Do you think it's still worth buying monitors and plan a dedicated time slot when you're alone at home for instance? I always learned that you can only use monitors in an acoustically decent environment.
Man in feels like you read my mind, great timing of the video!!
I loved the OG Line 6 Pod, when it came out, but I mostly just used the Tweed sound with a little drive, along with analog distortion pedals.
This is awesome Glenn! Saved for later viewing!
Thank you for sharing your knowledge ❤
GLENNNN!!! Do you have a recommendation for a more budget friendly plugin similar to the SSL Bus Compressor? I appreciate all the info you put into your videos man, esspecially this format. Wouldn't be where I am without your channel my friend!🤘🏼💀
Thanks so much for this video, Glenn. Just a ton of great info and solid advice. 🤘
When tracking with double mics for a blend. Do you recommend capturing the blend in a mono track, maybe capturing each mic separately and blending in the box...? Should I keep all the captures of one performance panned equally, or can we do something like:
1.1 L100
1.2 R100
2.1 R100
2.2 L100
Appreciate the insight!