To the guy with dyspraxia. I have it myself (not sever but enough to cause bad handwriting and weak back support), I find just using an instrument that is not stupidly heavy for you, and to simply practice WEARING ur instrument standing up and to just warm up aswell before a set by walking around wearing ur guitar/bass. I found this has helped me with gigging roughly once a month for nealry 3 years.
Joris Griffioen I’d totally agree with that, my band have song where it falls apart and jams out and I end up lying on the floor playing the jammed outro solo as part of the stage show, every time we play it in rehearsal I do similar moves so I know I can do everything on the night
I always poop my pants AND pee my pants AND ALSO FART REAL LOUD SO THE WHOLE ROOM HEARS AND DONT SAY EXCUSE ME BUT ILL SAY DAM THAT FART REAKS LIKE ROTTEN EGGS MIXED WITH SULFUR
@@nicholascowan1731 I have an adblock plugin on my PC but on my phone in the app there is no choice but to watch those videos with ads if you don't want to pay which I don't
Bass player here. I tried boiling strings once as an experiment. Dumb idea. It's a giant pain in the ass, takes a bunch of time, and your strings, while sounding maybe a bit better for a while, do not really sound new. On top of that you have a nasty pot that no longer want to eat out of ever again. Experiment over: I just buy new strings. Less than a tank of gas, money well-spent.
As a Finnish subscriber, I wholly endorse you getting in contact with the Hydraulic Press Channel! I would also love Glenn doing an impersonation of the Finnish rally English, as is presented on the channel!
"Velcome to Hüdrowlic Press Tsanneli. And tudeii vii haav a tsiip amp tat will mehk yor recording baaad. It is verri tan-ker-o-us and vii must deal it" (You should be hearing that in Ismo Leikola's voice. If not, you should hear him first!) Vähä rallienglantia Suomessa asuvan skotin näkökulmasta.
To the bloke with dyspraxia if you read this, I have it as well and here's my advice for gigging. Firstly make sure you warm up and stretch properly for a good half hour before playing. Make sure your muscles are warmed up and play a few of your songs beforehand on your own to get your fingers nice and nimble. Check out John Pettruci's Rock Discipline for a good warm-up and stretch routine. Second, and hopefully, this should be fairly obvious, keep the amount of alcohol you drink to a minimum. Our coordination is already compromised don't compromise it even more. One or two beers is probably ok to help loosen up and take the edge off the nerves if you have them but don't go crazy. Thirdly, the day of the gig, practice the hardest parts of the songs that you're playing, the stuff that usually trips you up if you're having a bad day. Play that stuff loads and loads until you can't get it wrong. Hope that helps man.
To the guy with dyspraxia - muscle memory is your friend (this is actual science!). I know a couple of guys with it, and their solution is to simply practice - every day, as much as is humanly possible. A good friend once told me..."Amateurs practice until they get it right, professionals practice until they can't get it wrong". It will undoubtedly take you a lot longer to get there than a non-dyspraxic person, for obvious reasons, but get there you will. Just make sure the rest of your band aren't assholes and will help you work through it.
Just a small clarification on the impulse response question: I think these techniques usually rely not on sine waves, but impulses (hence the name), which are infinitely small events of infinitely large volume. In a 44.1 kHz digital signal that would be one sample at full scale. They do this because the impulse is not restricted to one frequency, but contains the whole spectrum, so the analysis can see how the cab (or room, or whatever you measure) responds to every single frequency. It can then fold this response onto other signals, which is the virtual equivalent of sending that signal through the exact same chain. And while I'm commenting, great work Glenn, I always enjoy your videos! :)
While this is correct in principle, in practice you won't be able to send an impulse into a cab without also having some noise from the amp. And since the impulse response decays quickly, the amp noise will have a big effect in particular on the resultant response in the low mids and bass. So in practice you do sine sweeps, which can be done at full scale and cover the entire spectrum as well, then use that data to calculate an IR that results in the same frequency response. That being said, you would generally use actual impulses when trying to get an IR from a room - if you find yourself in an interesting accoustic space you can get a useful result with a cell phone by clapping. It won't be that accurate, but having an inaccurate IR of a subway station beats not having any IR at all every time...
Marshall Code and Spyder V, daisychained together, both being annihilated in a massive industrial sized press while being played through, their tinny spastic last gasps being videoed for posterity...that would be the best collab EVER!
So I’ve been watching viewers comments for a while now and based on the sheer number of times you have suggested the joyo zombie I bought one and I completely love it way more then my spider 5 I was using to recorded demos that I’m currently in the middle of re-recording everything and it sounds so much better:) thanks for the advice you give glen keep it up!!
Hey Glenn, I was at a gig the other day and the guitarist was using all Line 6 gear, pedal board, amp head, cab, you name it. Honestly, it sounded pretty good (it probably helped that he absolutely tore it up on stage) Do you have a problem with their higher end stuff, I'd imagine that if you're shelling out that amount of money you'd get some half decent gear at least. Cheers from Australia.
Some of the line 6 gear is great but one thing you will find is the guy probably knew how to set his patches up so they weren't awful or buried in the mix. Many many years ago I was broke and had a spider ii head and cab and still got comments on how good my tone was from drunk metal heads. It wasn't great but it was what I could afford but I knew mid range was important to guitar being heard. Alot of the guys just dont realise what sounds good on your own at bedroom volumes usually doesn't sound good turned up on stage when you add bass and drums.
MOST pro musicians will 'play-out' and tour with gear that is cheap and easy to replace no matter where they are in the country. If an amp or pedal dies on-the-road, somebody can duck into a Guitar Center and immediately replace it for cheap. Bands have gear damaged/lost/stolen all the time, and heavy/expensive gear is a headache to load-in and safeguard. They RECORD with the 'good stuff', though.
@@Kidsinamerica When I was an active musician I had a Spider II head just for gigs so I didn't have to bring a giant pedal board. I had a friend who is an audio engineer help me dial in a few sounds and it worked for what I needed. I'd never record with it but it made gigs much easier.
In response to the Joyo question: I play a Legator through a Zombie (both bought based on your recommendations! Thanks Glenn!) and every single gig I've played with them so far the sound guy has told me to please turn down a little bit because I am overpowering the other guitarist's 5150 with an Orange 4x12. Every sound guy has also told me that he prefers the sound of my setup. I'm just saving up for a Harly Benton 2x12 now and then I will have the ultimate kickass rig for a fraction of the price!
Pertaining to the comment about Rock and Roll being dead due to the lack of sex and sex appeal...I agree.... With that being said... Just look at Steel Panther... These guys have raked it in because they knew it.... AND have been totally successful because of it... Best part... Is they don't give a $hit about the liberals... It's just about having fun with it... And the parody of it.... They do it well.
Damn right! When that pedal company which won't be named balked at producing the Pussy Melter sound print because lefty dweebs cried salty tears, they developed it on their own with another pedal maker and now are close to a million dollars richer. T&A sells. It is a fact of life.
I wonder where are the lefties when it comes to hip-hop and all the -ism, controversial content it has spat out in the past decades and somehow replaced the rebel and glamorous (Yup! Contradictions make us human) role of r'n'r. Even super mainstream pop, look at all the former Disney female stars: one of their concerts would make John Holmes blush in shame ;) Go figure...
The 80s "Party Music" died-out because it was un-relatable to your average listener. People tend to gravitate to music that 'speaks' to them. The Hair-Metal (I hate using that term, but it works for now) music basically said : "I'm getting laid, and love to party with drugs/booze". Your average listener isn't into any of that at-all - they're broke, they're in-debt, the future looks terrible, and their life sucks. Grunge will make a comeback before 80s "hard rock" will.....Grunge fits the mood a LOT better for what's going-on today in youth culture.
Things you can learn from Alice Cooper: the person on stage is a character, a embodiment of an idea that lives for the duration of the set list. Alice once said that Alice Cooper, the persona contained every evil the world could muster, an amalgam of every dark thought. Alice Cooper the man is a well grounded Christian with a 40+ year marriage, kids and a love of golf that borders on the obsessive. Two very different people, one very awesome stage performance. He's also a badass knife thrower, proof that if you practice constantly, you can get better at anything.
Not really a metal thing but Impulse Responses are also used to emulate reverb of particular place. Alitiverb is great example of that, it uses impulse responses to emulate the sound of famous recording spaces.
Also, Dimebag used a RANDALL ANALOG SOLID STATE AMPLIFIER. the Line 6 Spider and the Marshall Code are DIGITAL MODELING AMPS. not to be a brand rider, but if you want a good beginner practice amp, definitely check out the Randall RG80. I’m currently in the process of saving up for a Randall RG1003h and a Harley Benton 2x12 v30 cabinet!
Low wattage through a 4x12 cab...reminds me of a practice in my old band. I come to practice with my Marshall Class 5 head and a 4x12 bottom. I was using the Bogner Red and Blue pedals for my dirt and lead tones. I was asked a few times to turn down because I was drowning out the drummer and other guitar. I loved it!
Wow you were part of Metalocalypse? That is so awesome. I need to thank you. I've learned more about guitar and music production watching you for a month than i learned in 25+ years in a band. I love your enthusiasm and true passion for metal. I always was the only band member to actually learn how to use live sound or recording equipment. Unlike tham I have always been fascinated with making music sound its best. Thank you for all you do. It would be an honor to jam with you. Mind blowing to have you as a producer 😆 genX headbangers know how to rock! Oh and huge thanks for saving me a ton of money and heartache by showing me what high end Gibsons really are. I love my Vietnamese LP style
Hey Glenn, love the channel and videos. You're a great and entertaining resource for people getting started in recording! As such, I gotta make quick correction on your impulse response answer, wouldn't want your people misinformed. Impulse responses are used to capture ANY acoustic space or environmental change, so it's often used to emulate classic reverb units and real concert halls as well as guitar cabs. It's done by shooting Pink Noise (similar to white noise but with all frequencies present) and basically capturing the changes to the frequency content that comes back. A sine wave only represents one frequency and would not make this process possible. Cheers from a Detroit guy in LA!
Hey Glen, as someone else who suffers from a learning difficulty (Dyspraxia, like the guy from the last video) i can definitely say that despite the physical challenges of said disorder, Music, especially metal, has helped me through life. Like the previous guy, i also struggle with physically playing guitar, which can cause additional anxiety in a live scenario. However, you could NOT be more wrong with the whole routine thing. Whilst im not at the band phase myself, Daily practice is arguably more essential for those of us who, whether diagnosed or not, struggle with the finesse some aspects of playing a music. TL/DR: Keep practising, get a routine for your recording/live performances, and Dont give up!! Keep on rocking, and Fuck you Glen!
I guess my band got lucky with our drummer. The guy bought a kit specifically for the gig, has experimented with what heads work best for our sound, and changes them regularly when he thinks they need it. On top of that he wanted the bass drum sound to remain consistent so he bought an internal mounting system for his AKG D112 bass drum mic, tweaked the location, and installed a lo-z jack in the shell making the soundman's job a no-brainer. Dude rocks \m/
I havent changed my drum heads in over a year, BUT i’m not touring or in a studio. So... playing at home, old heads work if you dont have money for new ones at home.
I can somewhat deal with older snare and kick heads for general practice and jamming, for a while anyway, but when the tom heads go flat, I can't stand to listen to em. It's up there with bashing a broken cymbal and I'll work overtime if I have to to buy a new set of Evans EC2s.
There are some jazz drummers though that swear by that sound and have probably recorded that way. Obviously this isn’t jazz though. Also depends on how hard you hit, how often you play and the stick size.
12:17 Try to keep in mind how much you love performing and how lucky you are to have the opportunity. The resulting adrenaline can definitely help you push through not feeling so well.
To the fellow guitarist who suffers from dyspraxia. I feel you man! I have the same thing and can tell there has been times that it has held me back. I was told at college at the age of 18 that I would never be able to play an instrument when I wanted to play guitar. I now have a music degree and teach guitar full time as my job. Don't give up dude! Practice and perseverance are the key. Keep on going and you will get there! :)
+1 On not needing to be huge to make an impact. I worked with a local studio acting as the producer for many of the bands that came through. I didn't get a bunch of cash, and no one will be able to find my name on any MCD's you'll buy; however, I still did ok, and had a blast
Hey glenn, í am watching one of rick beatos episode. It's about mixing. The mixer guy who rick is talking about is the dude who mixed linking park, Nirvana, chevelle, staind etc. Rick mentions something in between interesting and off in my opinion. The mixer guy uses sample on the snare and noice gate to give enough gain to the snare drum for ir to sound balanced. And right there I remebered that you make your drummers set the high hats higher so that it's sound won't mess with the snare. I remember very well your advice about not using compressor when recording drums. I guess using noice gate is about the same. Sounds to me like a whole lotta work when you can simply separate the cymbals just enough.
One thought on destroying/otherwise wrecking crap gear: if you're going to throw an amp off a building then for god's sake have the decency to set it on fire first.
A easy rule of thumb on amp volume levels, it takes approximately 10 times the wattage (given same class of amp) to double the perceived volume frome a given speaker setup. So a 20w amp through a 4x12 cab is going to give you approximately half the volume of a equivalent 200w amp through the same cab.
I bought a line 6 spider when I was starting out because I didn't know any better but I've managed to upgrade to a Fender Hot Rod deluxe and have never looked back. Cheers from south africa
Glenn, Greetings from Antactica. I live in a scientific research facility deep in the continent. Myself and a couple of colleagues have formed a punk/Thrash band called The Sex Penguins. My problem is my BASSIST wants to perform an outside show for the malamutes and the Emporer penguins , primarily because besides the members there are only three other people here. I keep trying to explain to him that the dogs are hungry and would most likely eat the penguins in the mosh pit. Not to mention I cant play with gloves on. He says fuck the gloves and the music will win over the dogs and penguins. I just don't think I could pull this gig off with frostbite , I don't want to pull my Engle out in 50 below zero weather. The tubes would never warm up. The drummer says his cymbals would probably shatter. WWGD? What would Glenn do?
Hey Glenn. I recently opened up my home studio to record and mix clients' music. I was wondering if you had any recommendations for "essential" pieces of gear to help me accommodate my clients' wants and needs. Cheers from your neighbor in Michigan!
Mini tube heads are seriously underrated, I had a Blackstar HT-1 Metal series and that was a loud little fucker. I ran it with a HD precision Drive, Korg Pitchblack, and an ISP Decimator. Ran through a Marshall JCM 1960 A and that thing seriously did the trick. I've since moved to running an AxeFX just because I love how versatile it is. But I'll always love mini tube heads. I've always heard that they were great for smaller studios because you can crank them more.
I have a friend who has dyspraxia who played bass guitar and upright bass in the concert band in high school. He is now a bass player in a pretty popular local hard rock band. I know for him playing playing really hard helps make his hands cooperate better. Best of luck to you dude
When I started my audio career I read a book on recording by Bob Katz. I forget the title but it was very comprehensive and well illustrated. Also Tape Op magazine is a great source of information.
While I did find my tone, I'm pretty open to new options. However, the only thing I'll refuse to record with is EMG pickups, they're way too compressed for my taste. Much prefer the Fishman stuff
A magazine that might be worth checking out is tape op. They put out six issues a year and subscription is free. You can also get an archive subscription for something like $5 a month
There is something everyone misses out about TubeAmps, in the 90, local bands didn't care, you wanted an amp that sounded with a drummer and that you could afford. When you got the first Pantera album, you enjoyed it, not argue about the amp type. Everyone even liked Kirk Hammett and his wah sound.
I have a Mesa Boogie Mark III Combo that weighs a ton. If I was going into the studio I would be willing to use a similar sounding amp instead of lugging my amp all around. Btw - I wore the "Growing Up is Overrated!" t-shirt at Mark Chapman's clinic the other day. During the meet & greet he made a point to look at my shirt which I think he liked. I told him I got it from Fricker's online store. He then said with a smile something along the line of, "Glenn, I know him...". This was at the very end of the night so it was a quick chat & photos. I mentioned that I did not want to hang on too long, so that he & Hannah could get back to the hotel and get some sleep before the next flight to the next destination.
Hey Glenn, given your love for Harley Benton cabs, I'd love to see you do a demo of their 20 watt combo amp. The price is right and I listened to the sound samples online. The tone didn't blow me away but it'd be nice to hear it in a mix or played through one of their cabs.
I once had my low E go down my left ear as I bent to pick up my dropped pick, I once upon a time left my strings dangling because it was easier to yank them out the bridge and reuse if I break one, After that length of excess string hanging off the peghead stabbed into my ear, regardless of the scale differences of my guitars, I now clip that shit when I am done. I have a vintage B.C. Rich Warlock with gibson scale of 24 3/4, and a vintage Lotus tele with 25 1/2 scale, I used to swap the strings between them if I broke one and leaving them long made that easier because there was length to work with, but not anymore.
Hey Glenn, What's your take on ribbon microphones, especially the Royer Labs R-121? I really love the sound of the bottom end of this mic, especially when combined with an SM57. Did you try your "Greatest Guitar Tone Trick" with ribbon mics? I would really like to try it myself, however the R-121 is expensive af. As always, great show! Keep on going!
Completely off topic, but I absolutely *love* it when I click on the video to pause it, check something for 5 freaking seconds, click to play and it goes fullscreen... Fucking UA-cam.
I’m a dyspraxic guitar player from the uk too, and Glens advice is spot on. For those that don’t know dyspraxia is a cognitive processing disorder, your brain know what it wants to do but when it try’s to send that information to limbs it gets lost in translation. To play guitar to any sort of reasonable standard I have to practice every single day. My routine before gigs it to do runs up and down the neck before we go on making sure that I’m playing a lot between soundcheck and going on. I’ve also learnt to trust my drummer and my amazing bass player (yes they do exist!) to cover any fuck ups! Guitar is my hobby, practice is not a chore for me I play guitar when other people are playing video games!
I'm confused. I got new strings for my bass and tried to restring it. The tuning seems to be okay, the strings are in the right order, and everything sounds fine. What did I do wrong? because I refuse to believe that I, now a bassist, managed to restring this instrument correctly. That would mean that a bassist did something right.
I feel you about the getting your hair caught thing. The second show I played with my last band, my hair was stuck in my tuning pegs on my headstock for the first two songs because I didn't have a moment to fix it after I noticed
Out of all the modeling amps out there the boss katana or the fender mustang are the only ones that have legitimately good distortion for solid state modeling imo
I love the idea of putting crap musical gear into a hydraulic press! Please do it Glenn. Great video as always. Wishing you a great weekend and a happy Bonfire Night for Monday!
BTW to Glenn and anyone else who was wondering: Dyspraxia is a neurological condition that affects coordination resulting in difficulties controlling and planning movements. As with many conditions, it varies a lot depending on the case but common symptoms include poor balance, poor timing, clumsiness, difficulties combining movements into a sequence, difficulties with spatial awareness, difficulties picking up and holding things like pencils, and a whole host of other things. I was diagnosed with it when I was 9 and the doctor said I had the handwriting ability of a 6-year-old. Playing guitar has certainly helped it a lot but even at the age of 21 I am still really cack handed a lot of the time. So yeah it's quite a shit thing to have but what's to be gained by feeling sorry for myself about it? I wanted to play guitar well so I simply worked my arse off to do so and I continue to do so because playing music is my favourite thing in the world.
Dude! Thanks for recommending the Joyo Zombie. I got it to replace plugging my Line6 PODX3 Live into the FX loop of my JCM 2000 DSL and it has a way better tone than I could hope for using anything Line6(pre Helix).
Surely playing with awesome gear is one of the good things about the recording experience. I've been in sessions where the guitarists have turned up with great amps, but followed the engineer's advice and tried out different amps, guitars and settings. Their own amps got used in the end but some killer guitars we wouldn't have used otherwise. I have owned a spider but never thought of it as anything other than the cheapest practice amp in the store. It does a job, but as soon as the opportunity to use something better comes along, you bet your ass I took it. If a bass player like me can work that out, surely everyone else can too
Glenn 2 questions: 1. When you demo an amp or guitar, could you have some “live” sound samples as that is more important to me and would give an extra layer of sound coverage. 2. I’ve been trying to get a “usable” Metal tone from my boss katana cause I can never get 100% what I want. So what would you suggest on that front?
Hey Glenn love the videos. I know you seem to give modeling amps a bad rep but I'm Curious what your opinions are on the Fender Mustang amps. My very first amp was a Fender Mustang 1 and I love that amp. It's obviously not what I use live with my band, but for playing at home its great. Greetings from Indiana.
Do they have Harbor Freight in Canada? They sell a hydraulic presses pretty cheap. (less than $100 US) You could paint it black, white, and red, and make it a regular feature of "Fearless Gear Reviews". That'd be pretty awesome.
To the muso with dyspraxia: please be aware that it is ok to not be perfect every night. Be up front with your bandmates and try to see if they can work out arrangements for when you're not able to do it if it's debilitating to the point where you can't play at all, or if someone else can take your solos for a night or something. People are really understanding about this stuff, and if they're not then fuck 'em, they're not worth playing with. I have fibromyalgia and some gigs are really hard to get through, and I'm not the player I was 10 years ago, but that doesn't mean I'm not still out there giving it my all, and I will be as long as punters still show up. Wishing you a rich and fulfilling musical life mate. Keep making music.
Glenn, I need some advice, or/and some teaching. I have spent a few too many years with a certain guitarist (AKA: The LEAD guitarist, BECAUSE HE OWNS THE STUDIO). If that is not bad enough, he refuses to record anything, because he is afraid people might tell us that we suck. Basically, it is a toxic relationship. If I could find another band, I would divorce this band so quickly. So, I think the only other realistic option is for me to branch out, and go solo. The problem is, apart from the Orange Micro Terror, Countryman DI, and Reaper, I don't know where to start, so I would be starting completely from scratch. What gear do I need? What DAWs work best on Windows 7? What plugins do I need? How do I use that DAW? Also, living in an apartment means I would not be able to use a cab, at all. So, would I get better cab emulation from the DI, or from the DAW? Basically, I would like a video for a Beginner's Guide To Home Recording.
I might have dyspraxia, but I was able to overcome a few things about it. The key thing is a lot of practice and use the correct techniques or you'll waste time and energy on practicing something the wrong way. Even worse when you have to unlearn bad techniques first. I probably could have been pretty good, but unfortunately the 2 hours of practice time I had was barely enough, and later on I had even less time for it. On the other hand I was able to pick up drawing, which doesn't make as much noise.
Line 6 spiders and Marshall codes are amazing amps for lo-fi, poorly recorded black metal. With presets like "can of bees" and "bigger can of bees". Or my favorite "oil drum sized can of bees at the bottom of a well with a hint of delay". With more gain and compression than 20 metalzones in series, you will sound great while burried in the mix. You don't need mids anyways! Its a shame mine blew up of its on accord. I wanted to blow it up myself!
Long hair, this is why on the large horizontal drills, we have a ripcord style e-stop that runs the whole length of the machines, so anywhere on it I can top it. I've almost got my hair caught in them, almost got it caught in a lathe, So I ended up cutting it off after a really close call on a manual lathe it caught a small fly away that had gotten out of my ponytail and ripped a small bundle of hair out. lucky it was just a little portion that got pulled. Still hurt like a bastard. But I miss my 1980s metal hair man. It's not the same without it.
I agree with you Glen that ego of the musician be it bassist, guitarist or drummer wants to use their crappy equipment when there is an amazing amp or drum next to it that would most definitely bring a better sound to the project. Musician need to leave the ego at the door and focus on what is best for the project. Also practice till you have it right before you enter the studio it really sucks paying for a lazy musician who thinks they will get it in the studio when they can’t nail it once a practice! ✌🏻
If you want to be a sound engineer , you're young you have stacks of energy and motivation. Ask other engineers if you can sit in on a mix and watch and help out for free in the studi, ask live sound guys (or gals) the same thing, be prepared to make absolutely no money for the first few years in it, have a second job that you will actually bring a paycheck home from every week. watch watch watch watch and done't be afraid to ASK and don't be afraid to jump into the deep end and learn from your own mistakes. And remember pioneers in the field were prepared to take risks and didn't just go with the flow, sometimes you might have to be unpopular and take criticism if you want to be a trail blazer.
The line I hate the most is, "but we can't do that live" (usually in relation to some shit amp or taking advantage of what can be done in the studio). In saying that the engineer persuaded them to try another amp (and guitar on some tracks), this was also the session where our guitarist found out I wasn't slowing down on the drums. Was actually a really good outcome, helped the band gel and we still play gigs a decade and several albums later.
I think Nigel Tuffnel and David St Hubbards summed rock up well about their "Smell The Glove" record. David: Have you seen their cover? Ian: No David: It's a rather lurid cover, it's like naked women Nigel: He's like tied down on a table with whips and they're all semi nude Ian: What's the point? David: Well the point is it's much worse than "Smell The Glove" Ian: He's the victim. Their objection is that she's the victim. It's alright if the singers the victim, it's different Nigel: It's a twist Ian: Maybe if we had of had all of you guys tied up that would have been fine David/Nigel: It's such a fine line between stupid and clever. Keep up the great work Glenn
Duncan Dry's "Live Sound Mixing" is pretty much the ultimate audio for dummies book, even though it is for live sound its the perfect induction into sound in all areas, including recording. The mixerman and Michael Stav books are good for inspiring creativity
To the guy with dyspraxia. I have it myself (not sever but enough to cause bad handwriting and weak back support), I find just using an instrument that is not stupidly heavy for you, and to simply practice WEARING ur instrument standing up and to just warm up aswell before a set by walking around wearing ur guitar/bass. I found this has helped me with gigging roughly once a month for nealry 3 years.
Fellas we gotta signal boost this
@@zhiracs fact
I'd actually recommend all gigging musicians to practice in the same way that you'll play the gig.
Joris Griffioen I’d totally agree with that, my band have song where it falls apart and jams out and I end up lying on the floor playing the jammed outro solo as part of the stage show, every time we play it in rehearsal I do similar moves so I know I can do everything on the night
I always poop my pants AND pee my pants AND ALSO FART REAL LOUD SO THE WHOLE ROOM HEARS AND DONT SAY EXCUSE ME BUT ILL SAY DAM THAT FART REAKS LIKE ROTTEN EGGS MIXED WITH SULFUR
I find it hilarious that the adverts I see before all of your videos are for drum replacement plugins and vocal tuning/editing plugins!
In The Mix you get adverts on youtube ?
@@nicholascowan1731 Yes I keep the adverts on so that it supports the creator :)
@@nicholascowan1731 I have an adblock plugin on my PC but on my phone in the app there is no choice but to watch those videos with ads if you don't want to pay which I don't
Put the cab clone in the hydraulic press!
I'm with this guy. Please make this happen Glenn!
Hydraulic Truth
We wanna see some hydraulic actionnnn /m/
Please. I want this to happen.
Squishy squish!
Can’t you just boil your drum heads to get them to sound better? Asked a bass player…
@Robbi Rose And ketchup :-)
I used to play in a band with a bassist who did that rather than buy new strings, so I know that frustration first hand.
Bass player here. I tried boiling strings once as an experiment. Dumb idea. It's a giant pain in the ass, takes a bunch of time, and your strings, while sounding maybe a bit better for a while, do not really sound new. On top of that you have a nasty pot that no longer want to eat out of ever again. Experiment over: I just buy new strings. Less than a tank of gas, money well-spent.
better yet, saute them in Olive Oil
I used the industrial dryer thing it worked for an in a pinch show bit I'll only use new heads in studio
As a Finnish subscriber, I wholly endorse you getting in contact with the Hydraulic Press Channel! I would also love Glenn doing an impersonation of the Finnish rally English, as is presented on the channel!
"Welcome to Hydraulic Press Channel, and today, we have cheap amp that will make your recording bad... It is very dangerous, and must be dealt with!"
"Velcome to Hüdrowlic Press Tsanneli. And tudeii vii haav a tsiip amp tat will mehk yor recording baaad. It is verri tan-ker-o-us and vii must deal it"
(You should be hearing that in Ismo Leikola's voice. If not, you should hear him first!)
Vähä rallienglantia Suomessa asuvan skotin näkökulmasta.
To the bloke with dyspraxia if you read this, I have it as well and here's my advice for gigging.
Firstly make sure you warm up and stretch properly for a good half hour before playing. Make sure your muscles are warmed up and play a few of your songs beforehand on your own to get your fingers nice and nimble. Check out John Pettruci's Rock Discipline for a good warm-up and stretch routine.
Second, and hopefully, this should be fairly obvious, keep the amount of alcohol you drink to a minimum. Our coordination is already compromised don't compromise it even more. One or two beers is probably ok to help loosen up and take the edge off the nerves if you have them but don't go crazy.
Thirdly, the day of the gig, practice the hardest parts of the songs that you're playing, the stuff that usually trips you up if you're having a bad day. Play that stuff loads and loads until you can't get it wrong.
Hope that helps man.
To the guy with dyspraxia - muscle memory is your friend (this is actual science!). I know a couple of guys with it, and their solution is to simply practice - every day, as much as is humanly possible. A good friend once told me..."Amateurs practice until they get it right, professionals practice until they can't get it wrong". It will undoubtedly take you a lot longer to get there than a non-dyspraxic person, for obvious reasons, but get there you will. Just make sure the rest of your band aren't assholes and will help you work through it.
digiscream my band were assholes.
They took my song and put it as track 1 on the ep.
I guess I have to be better than our lead guitarist ....
My guitar player is dyspraxic and he's one of the best guitarists I've ever met, he's worked hard for it and knows theory for days.
"Clip your strings, kids. It pays off..."
**looks directly at headstock of guitar with string ends that've been ignored for far too long**
Just a small clarification on the impulse response question: I think these techniques usually rely not on sine waves, but impulses (hence the name), which are infinitely small events of infinitely large volume. In a 44.1 kHz digital signal that would be one sample at full scale. They do this because the impulse is not restricted to one frequency, but contains the whole spectrum, so the analysis can see how the cab (or room, or whatever you measure) responds to every single frequency. It can then fold this response onto other signals, which is the virtual equivalent of sending that signal through the exact same chain.
And while I'm commenting, great work Glenn, I always enjoy your videos! :)
While this is correct in principle, in practice you won't be able to send an impulse into a cab without also having some noise from the amp. And since the impulse response decays quickly, the amp noise will have a big effect in particular on the resultant response in the low mids and bass. So in practice you do sine sweeps, which can be done at full scale and cover the entire spectrum as well, then use that data to calculate an IR that results in the same frequency response. That being said, you would generally use actual impulses when trying to get an IR from a room - if you find yourself in an interesting accoustic space you can get a useful result with a cell phone by clapping. It won't be that accurate, but having an inaccurate IR of a subway station beats not having any IR at all every time...
@@simongunkel7457 Cheers man, I didn't know about the amp noise problem. :)
Marshall Code and Spyder V, daisychained together, both being annihilated in a massive industrial sized press while being played through, their tinny spastic last gasps being videoed for posterity...that would be the best collab EVER!
So I’ve been watching viewers comments for a while now and based on the sheer number of times you have suggested the joyo zombie I bought one and I completely love it way more then my spider 5 I was using to recorded demos that I’m currently in the middle of re-recording everything and it sounds so much better:) thanks for the advice you give glen keep it up!!
Hey Glenn,
I was at a gig the other day and the guitarist was using all Line 6 gear, pedal board, amp head, cab, you name it. Honestly, it sounded pretty good (it probably helped that he absolutely tore it up on stage)
Do you have a problem with their higher end stuff, I'd imagine that if you're shelling out that amount of money you'd get some half decent gear at least.
Cheers from Australia.
Some of the line 6 gear is great but one thing you will find is the guy probably knew how to set his patches up so they weren't awful or buried in the mix. Many many years ago I was broke and had a spider ii head and cab and still got comments on how good my tone was from drunk metal heads. It wasn't great but it was what I could afford but I knew mid range was important to guitar being heard. Alot of the guys just dont realise what sounds good on your own at bedroom volumes usually doesn't sound good turned up on stage when you add bass and drums.
MOST pro musicians will 'play-out' and tour with gear that is cheap and easy to replace no matter where they are in the country. If an amp or pedal dies on-the-road, somebody can duck into a Guitar Center and immediately replace it for cheap. Bands have gear damaged/lost/stolen all the time, and heavy/expensive gear is a headache to load-in and safeguard. They RECORD with the 'good stuff', though.
@@Kidsinamerica When I was an active musician I had a Spider II head just for gigs so I didn't have to bring a giant pedal board. I had a friend who is an audio engineer help me dial in a few sounds and it worked for what I needed. I'd never record with it but it made gigs much easier.
Glenn,
Your answer to the first question was both very good and very humble. On behalf of your viewers, we don't think your going soft.
Kudos👍
I have to admit, I'd love to see a hydraulic press episode with a Line 6 Spider.. 😄
Sorry guys no clever comment today
That's so sad
Don't flatter yourself.
So pretty much what we would expect from you. Hue hue hue
@@Amber57499 lmao
@Poo Ninja sure do
I wonder if people still remember when glenn said he'd wear the SMG booty shorts 😂
Goddamnit, I was trying real hard to forget that...
I also remember Glenn saying he wouldn't do it after all.
im a senior in high school and i have a JEL class for music production and i love it
In response to the Joyo question: I play a Legator through a Zombie (both bought based on your recommendations! Thanks Glenn!) and every single gig I've played with them so far the sound guy has told me to please turn down a little bit because I am overpowering the other guitarist's 5150 with an Orange 4x12. Every sound guy has also told me that he prefers the sound of my setup.
I'm just saving up for a Harly Benton 2x12 now and then I will have the ultimate kickass rig for a fraction of the price!
Pertaining to the comment about Rock and Roll being dead due to the lack of sex and sex appeal...I agree.... With that being said... Just look at Steel Panther... These guys have raked it in because they knew it.... AND have been totally successful because of it... Best part... Is they don't give a $hit about the liberals... It's just about having fun with it... And the parody of it.... They do it well.
Damn right! When that pedal company which won't be named balked at producing the Pussy Melter sound print because lefty dweebs cried salty tears, they developed it on their own with another pedal maker and now are close to a million dollars richer. T&A sells. It is a fact of life.
I wonder where are the lefties when it comes to hip-hop and all the -ism, controversial content it has spat out in the past decades and somehow replaced the rebel and glamorous (Yup! Contradictions make us human) role of r'n'r. Even super mainstream pop, look at all the former Disney female stars: one of their concerts would make John Holmes blush in shame ;) Go figure...
The 80s "Party Music" died-out because it was un-relatable to your average listener. People tend to gravitate to music that 'speaks' to them. The Hair-Metal (I hate using that term, but it works for now) music basically said : "I'm getting laid, and love to party with drugs/booze". Your average listener isn't into any of that at-all - they're broke, they're in-debt, the future looks terrible, and their life sucks. Grunge will make a comeback before 80s "hard rock" will.....Grunge fits the mood a LOT better for what's going-on today in youth culture.
Things you can learn from Alice Cooper: the person on stage is a character, a embodiment of an idea that lives for the duration of the set list. Alice once said that Alice Cooper, the persona contained every evil the world could muster, an amalgam of every dark thought. Alice Cooper the man is a well grounded Christian with a 40+ year marriage, kids and a love of golf that borders on the obsessive. Two very different people, one very awesome stage performance. He's also a badass knife thrower, proof that if you practice constantly, you can get better at anything.
Not really a metal thing but Impulse Responses are also used to emulate reverb of particular place. Alitiverb is great example of that, it uses impulse responses to emulate the sound of famous recording spaces.
Also, Dimebag used a RANDALL ANALOG SOLID STATE AMPLIFIER. the Line 6 Spider and the Marshall Code are DIGITAL MODELING AMPS. not to be a brand rider, but if you want a good beginner practice amp, definitely check out the Randall RG80. I’m currently in the process of saving up for a Randall RG1003h and a Harley Benton 2x12 v30 cabinet!
Lmao I will donate my line 6 spider for the name of science to see it get crushed by a hydraulic press
"What's wrong with being sexy?" My favourite ever Glenn quote ever!
Needs to be a shirt with his ugly, resting-face frown on it.
I don't think I've ever seen my drummer changed or tune his drum heads of course he is a hipster
I tell him he's a dirty hipster everyday but he it's still an awesome drummer and probably a better human being than you'll ever be
And he'll never ditch us kill all the hipsters
I mean I guess I could be a hipster if I wore my little brother's t-shirt grew out a big stupid beard and tried to be ironic constantly
Low wattage through a 4x12 cab...reminds me of a practice in my old band. I come to practice with my Marshall Class 5 head and a 4x12 bottom. I was using the Bogner Red and Blue pedals for my dirt and lead tones. I was asked a few times to turn down because I was drowning out the drummer and other guitar. I loved it!
OMG, YES! Make a collab with The press channel. That would be amazing.
Hey Glenn, i love your show! and about your drum-set i wish you could show us some tips about drum maintenance!! cheers from Mexico :))!!
Glenn-you are just fucking awesome. Love you videos and your honesty. You don't fuck around, you get to the point which something lacking today.
Wow you were part of Metalocalypse? That is so awesome. I need to thank you. I've learned more about guitar and music production watching you for a month than i learned in 25+ years in a band. I love your enthusiasm and true passion for metal. I always was the only band member to actually learn how to use live sound or recording equipment. Unlike tham I have always been fascinated with making music sound its best. Thank you for all you do. It would be an honor to jam with you. Mind blowing to have you as a producer 😆 genX headbangers know how to rock! Oh and huge thanks for saving me a ton of money and heartache by showing me what high end Gibsons really are. I love my Vietnamese LP style
Hey Glenn, love the channel and videos. You're a great and entertaining resource for people getting started in recording! As such, I gotta make quick correction on your impulse response answer, wouldn't want your people misinformed. Impulse responses are used to capture ANY acoustic space or environmental change, so it's often used to emulate classic reverb units and real concert halls as well as guitar cabs. It's done by shooting Pink Noise (similar to white noise but with all frequencies present) and basically capturing the changes to the frequency content that comes back. A sine wave only represents one frequency and would not make this process possible. Cheers from a Detroit guy in LA!
“But that’s my sound!”
“Sure it is, but is that the sound that works for the song?”
Hey Glen, as someone else who suffers from a learning difficulty (Dyspraxia, like the guy from the last video) i can definitely say that despite the physical challenges of said disorder, Music, especially metal, has helped me through life. Like the previous guy, i also struggle with physically playing guitar, which can cause additional anxiety in a live scenario. However, you could NOT be more wrong with the whole routine thing. Whilst im not at the band phase myself, Daily practice is arguably more essential for those of us who, whether diagnosed or not, struggle with the finesse some aspects of playing a music.
TL/DR: Keep practising, get a routine for your recording/live performances, and Dont give up!!
Keep on rocking, and Fuck you Glen!
Love the show.
Love your "no BS" attitude and delivery.
I guess my band got lucky with our drummer. The guy bought a kit specifically for the gig, has experimented with what heads work best for our sound, and changes them regularly when he thinks they need it. On top of that he wanted the bass drum sound to remain consistent so he bought an internal mounting system for his AKG D112 bass drum mic, tweaked the location, and installed a lo-z jack in the shell making the soundman's job a no-brainer. Dude rocks \m/
I havent changed my drum heads in over a year, BUT i’m not touring or in a studio. So... playing at home, old heads work if you dont have money for new ones at home.
No kidding. The studio is a slightly different situation
I can somewhat deal with older snare and kick heads for general practice and jamming, for a while anyway, but when the tom heads go flat, I can't stand to listen to em. It's up there with bashing a broken cymbal and I'll work overtime if I have to to buy a new set of Evans EC2s.
There are some jazz drummers though that swear by that sound and have probably recorded that way. Obviously this isn’t jazz though. Also depends on how hard you hit, how often you play and the stick size.
Watching this video and i got nothing but love, "help with local bands", yeah i can agree, teaching is rewarding too in the studio 1❤️
12:17 Try to keep in mind how much you love performing and how lucky you are to have the opportunity. The resulting adrenaline can definitely help you push through not feeling so well.
To the fellow guitarist who suffers from dyspraxia. I feel you man! I have the same thing and can tell there has been times that it has held me back. I was told at college at the age of 18 that I would never be able to play an instrument when I wanted to play guitar. I now have a music degree and teach guitar full time as my job. Don't give up dude! Practice and perseverance are the key. Keep on going and you will get there! :)
+1 On not needing to be huge to make an impact. I worked with a local studio acting as the producer for many of the bands that came through. I didn't get a bunch of cash, and no one will be able to find my name on any MCD's you'll buy; however, I still did ok, and had a blast
HP42 's youtube channel - _For when you want to surge to the vanguard of t-shirt fashion!_ *Haista vittu, Glenn!*
Hey glenn, í am watching one of rick beatos episode. It's about mixing. The mixer guy who rick is talking about is the dude who mixed linking park, Nirvana, chevelle, staind etc. Rick mentions something in between interesting and off in my opinion. The mixer guy uses sample on the snare and noice gate to give enough gain to the snare drum for ir to sound balanced. And right there I remebered that you make your drummers set the high hats higher so that it's sound won't mess with the snare. I remember very well your advice about not using compressor when recording drums. I guess using noice gate is about the same. Sounds to me like a whole lotta work when you can simply separate the cymbals just enough.
A collab would be fucking hysterical and AWESOME!! Keep up the good work with Keto
One thought on destroying/otherwise wrecking crap gear: if you're going to throw an amp off a building then for god's sake have the decency to set it on fire first.
I didn't know he did it for god.
This is sound advice in any situation. Bravo!
And record it.
I always enjoy your vc's man. I really appreciate all that you do. Keep it up!
A easy rule of thumb on amp volume levels, it takes approximately 10 times the wattage (given same class of amp) to double the perceived volume frome a given speaker setup. So a 20w amp through a 4x12 cab is going to give you approximately half the volume of a equivalent 200w amp through the same cab.
I bought a line 6 spider when I was starting out because I didn't know any better but I've managed to upgrade to a Fender Hot Rod deluxe and have never looked back. Cheers from south africa
woahhhhhh. videos are looking really high quality glenn!
Glenn, Greetings from Antactica. I live in a scientific research facility deep in the continent. Myself and a couple of colleagues have formed a punk/Thrash band called The Sex Penguins. My problem is my BASSIST wants to perform an outside show for the malamutes and the Emporer penguins , primarily because besides the members there are only three other people here.
I keep trying to explain to him that the dogs are hungry and would most likely eat the penguins in the mosh pit. Not to mention I cant play with gloves on. He says fuck the gloves and the music will win over the dogs and penguins.
I just don't think I could pull this gig off with frostbite , I don't want to pull my Engle out in 50 below zero weather. The tubes would never warm up. The drummer says his cymbals would probably shatter. WWGD? What would Glenn do?
Hey Glenn. I recently opened up my home studio to record and mix clients' music. I was wondering if you had any recommendations for "essential" pieces of gear to help me accommodate my clients' wants and needs. Cheers from your neighbor in Michigan!
Mini tube heads are seriously underrated, I had a Blackstar HT-1 Metal series and that was a loud little fucker. I ran it with a HD precision Drive, Korg Pitchblack, and an ISP Decimator. Ran through a Marshall JCM 1960 A and that thing seriously did the trick.
I've since moved to running an AxeFX just because I love how versatile it is.
But I'll always love mini tube heads.
I've always heard that they were great for smaller studios because you can crank them more.
Hey Glenn, can we get a “Who needs a bassist? Buy a 9-String!” shirt?
That is why I will not buy an 8 string I like hearing the bass separate
I have a friend who has dyspraxia who played bass guitar and upright bass in the concert band in high school. He is now a bass player in a pretty popular local hard rock band. I know for him playing playing really hard helps make his hands cooperate better. Best of luck to you dude
Please put both the code and the line 6 in a press!
Thanks for saying why KK had Sunglasses on, that has always bugged me. Still one of the Best Concert video's ever.
When I started my audio career I read a book on recording by Bob Katz. I forget the title but it was very comprehensive and well illustrated. Also Tape Op magazine is a great source of information.
Cool video yesterday, seeing s pov of the studio was interesting. Hope you find time to do those have to do things, you mentioned.
While I did find my tone, I'm pretty open to new options. However, the only thing I'll refuse to record with is EMG pickups, they're way too compressed for my taste. Much prefer the Fishman stuff
A magazine that might be worth checking out is tape op. They put out six issues a year and subscription is free. You can also get an archive subscription for something like $5 a month
I have Joyo Zombie with 2x12 Harley Benton V30 and this is killer! Easily keep up with the drums!
There is something everyone misses out about TubeAmps, in the 90, local bands didn't care, you wanted an amp that sounded with a drummer and that you could afford. When you got the first Pantera album, you enjoyed it, not argue about the amp type. Everyone even liked Kirk Hammett and his wah sound.
What has he done ? he's made a successful show we all come to watch, and makes an effort to do it , not an easy job at all.
I have a Mesa Boogie Mark III Combo that weighs a ton. If I was going into the studio I would be willing to use a similar sounding amp instead of lugging my amp all around.
Btw - I wore the "Growing Up is Overrated!" t-shirt at Mark Chapman's clinic the other day. During the meet & greet he made a point to look at my shirt which I think he liked. I told him I got it from Fricker's online store. He then said with a smile something along the line of, "Glenn, I know him...".
This was at the very end of the night so it was a quick chat & photos. I mentioned that I did not want to hang on too long, so that he & Hannah could get back to the hotel and get some sleep before the next flight to the next destination.
Lousy amp vs Press? Just do it \m/\m/
Big yes to HPC collab!
Hey Glenn, given your love for Harley Benton cabs, I'd love to see you do a demo of their 20 watt combo amp. The price is right and I listened to the sound samples online. The tone didn't blow me away but it'd be nice to hear it in a mix or played through one of their cabs.
I once had my low E go down my left ear as I bent to pick up my dropped pick, I once upon a time left my strings dangling because it was easier to yank them out the bridge and reuse if I break one, After that length of excess string hanging off the peghead stabbed into my ear, regardless of the scale differences of my guitars, I now clip that shit when I am done. I have a vintage B.C. Rich Warlock with gibson scale of 24 3/4, and a vintage Lotus tele with 25 1/2 scale, I used to swap the strings between them if I broke one and leaving them long made that easier because there was length to work with, but not anymore.
Hey Glenn,
What's your take on ribbon microphones, especially the Royer Labs R-121? I really love the sound of the bottom end of this mic, especially when combined with an SM57. Did you try your "Greatest Guitar Tone Trick" with ribbon mics? I would really like to try it myself, however the R-121 is expensive af.
As always, great show! Keep on going!
Completely off topic, but I absolutely *love* it when I click on the video to pause it, check something for 5 freaking seconds, click to play and it goes fullscreen...
Fucking UA-cam.
I’m a dyspraxic guitar player from the uk too, and Glens advice is spot on. For those that don’t know dyspraxia is a cognitive processing disorder, your brain know what it wants to do but when it try’s to send that information to limbs it gets lost in translation. To play guitar to any sort of reasonable standard I have to practice every single day. My routine before gigs it to do runs up and down the neck before we go on making sure that I’m playing a lot between soundcheck and going on. I’ve also learnt to trust my drummer and my amazing bass player (yes they do exist!) to cover any fuck ups!
Guitar is my hobby, practice is not a chore for me I play guitar when other people are playing video games!
I am autistic, I play guitar whilst I play games, 2 for 1, sit with a guitar in my lap and play my game.
I'm confused. I got new strings for my bass and tried to restring it. The tuning seems to be okay, the strings are in the right order, and everything sounds fine. What did I do wrong? because I refuse to believe that I, now a bassist, managed to restring this instrument correctly. That would mean that a bassist did something right.
I feel you about the getting your hair caught thing. The second show I played with my last band, my hair was stuck in my tuning pegs on my headstock for the first two songs because I didn't have a moment to fix it after I noticed
Out of all the modeling amps out there the boss katana or the fender mustang are the only ones that have legitimately good distortion for solid state modeling imo
I love the idea of putting crap musical gear into a hydraulic press! Please do it Glenn. Great video as always. Wishing you a great weekend and a happy Bonfire Night for Monday!
BTW to Glenn and anyone else who was wondering: Dyspraxia is a neurological condition that affects coordination resulting in difficulties controlling and planning movements. As with many conditions, it varies a lot depending on the case but common symptoms include poor balance, poor timing, clumsiness, difficulties combining movements into a sequence, difficulties with spatial awareness, difficulties picking up and holding things like pencils, and a whole host of other things. I was diagnosed with it when I was 9 and the doctor said I had the handwriting ability of a 6-year-old. Playing guitar has certainly helped it a lot but even at the age of 21 I am still really cack handed a lot of the time. So yeah it's quite a shit thing to have but what's to be gained by feeling sorry for myself about it? I wanted to play guitar well so I simply worked my arse off to do so and I continue to do so because playing music is my favourite thing in the world.
Dude! Thanks for recommending the Joyo Zombie. I got it to replace plugging my Line6 PODX3 Live into the FX loop of my JCM 2000 DSL and it has a way better tone than I could hope for using anything Line6(pre Helix).
Surely playing with awesome gear is one of the good things about the recording experience. I've been in sessions where the guitarists have turned up with great amps, but followed the engineer's advice and tried out different amps, guitars and settings. Their own amps got used in the end but some killer guitars we wouldn't have used otherwise.
I have owned a spider but never thought of it as anything other than the cheapest practice amp in the store. It does a job, but as soon as the opportunity to use something better comes along, you bet your ass I took it. If a bass player like me can work that out, surely everyone else can too
That's the hope. The reality on the other hand ...
Glenn
2 questions:
1. When you demo an amp or guitar, could you have some “live” sound samples as that is more important to me and would give an extra layer of sound coverage.
2. I’ve been trying to get a “usable” Metal tone from my boss katana cause I can never get 100% what I want. So what would you suggest on that front?
Despite the critics I think you set a good example Glenn. Keep rockin dude.
Joyo makes a good hot plate too.
Hi Glenn!
Can you tell me what is the background music at 9:06?
Thanks from Hungary
I recommend Modern Recording Technique 10th or 11th edition by David Huber. Great info on micing techniques.
Hey Glenn love the videos. I know you seem to give modeling amps a bad rep but I'm Curious what your opinions are on the Fender Mustang amps. My very first amp was a Fender Mustang 1 and I love that amp. It's obviously not what I use live with my band, but for playing at home its great. Greetings from Indiana.
Do they have Harbor Freight in Canada?
They sell a hydraulic presses pretty cheap. (less than $100 US)
You could paint it black, white, and red, and make it a regular feature of "Fearless Gear Reviews".
That'd be pretty awesome.
To the muso with dyspraxia: please be aware that it is ok to not be perfect every night. Be up front with your bandmates and try to see if they can work out arrangements for when you're not able to do it if it's debilitating to the point where you can't play at all, or if someone else can take your solos for a night or something. People are really understanding about this stuff, and if they're not then fuck 'em, they're not worth playing with.
I have fibromyalgia and some gigs are really hard to get through, and I'm not the player I was 10 years ago, but that doesn't mean I'm not still out there giving it my all, and I will be as long as punters still show up.
Wishing you a rich and fulfilling musical life mate. Keep making music.
You should smash a Marshall Code and a Line 6 spider together. Show people what it looks like when something sucks and blows at the same time.
9:30 I was expecting that to lead to the guitarist poking someone's (or his own) eye out, but holy fuck! Had a good laugh at the closing line. :D
We all definitely want that hydraulic press video! That sounds awesome!
Hi Glenn idea for a guitar tone video: R121 with a SM57 (or generally dynamic mic mixed with a ribbon mic)
Glenn, I need some advice, or/and some teaching. I have spent a few too many years with a certain guitarist (AKA: The LEAD guitarist, BECAUSE HE OWNS THE STUDIO). If that is not bad enough, he refuses to record anything, because he is afraid people might tell us that we suck. Basically, it is a toxic relationship. If I could find another band, I would divorce this band so quickly. So, I think the only other realistic option is for me to branch out, and go solo.
The problem is, apart from the Orange Micro Terror, Countryman DI, and Reaper, I don't know where to start, so I would be starting completely from scratch. What gear do I need? What DAWs work best on Windows 7? What plugins do I need? How do I use that DAW? Also, living in an apartment means I would not be able to use a cab, at all. So, would I get better cab emulation from the DI, or from the DAW?
Basically, I would like a video for a Beginner's Guide To Home Recording.
I might have dyspraxia, but I was able to overcome a few things about it.
The key thing is a lot of practice and use the correct techniques or you'll waste time and energy on practicing something the wrong way. Even worse when you have to unlearn bad techniques first.
I probably could have been pretty good, but unfortunately the 2 hours of practice time I had was barely enough, and later on I had even less time for it. On the other hand I was able to pick up drawing, which doesn't make as much noise.
Collab with Hydraulic Press? Fuck yeah!
"nothing sexy will happen on this show"
we all know Glen is rocking a sweet banana hammock under those jeans.
Line 6 spiders and Marshall codes are amazing amps for lo-fi, poorly recorded black metal. With presets like "can of bees" and "bigger can of bees". Or my favorite "oil drum sized can of bees at the bottom of a well with a hint of delay". With more gain and compression than 20 metalzones in series, you will sound great while burried in the mix. You don't need mids anyways!
Its a shame mine blew up of its on accord. I wanted to blow it up myself!
Long hair, this is why on the large horizontal drills, we have a ripcord style e-stop that runs the whole length of the machines, so anywhere on it I can top it. I've almost got my hair caught in them, almost got it caught in a lathe, So I ended up cutting it off after a really close call on a manual lathe it caught a small fly away that had gotten out of my ponytail and ripped a small bundle of hair out. lucky it was just a little portion that got pulled. Still hurt like a bastard. But I miss my 1980s metal hair man. It's not the same without it.
I agree with you Glen that ego of the musician be it bassist, guitarist or drummer wants to use their crappy equipment when there is an amazing amp or drum next to it that would most definitely bring a better sound to the project. Musician need to leave the ego at the door and focus on what is best for the project. Also practice till you have it right before you enter the studio it really sucks paying for a lazy musician who thinks they will get it in the studio when they can’t nail it once a practice! ✌🏻
If you want to be a sound engineer , you're young you have stacks of energy and motivation. Ask other engineers if you can sit in on a mix and watch and help out for free in the studi, ask live sound guys (or gals) the same thing, be prepared to make absolutely no money for the first few years in it, have a second job that you will actually bring a paycheck home from every week. watch watch watch watch and done't be afraid to ASK and don't be afraid to jump into the deep end and learn from your own mistakes. And remember pioneers in the field were prepared to take risks and didn't just go with the flow, sometimes you might have to be unpopular and take criticism if you want to be a trail blazer.
The line I hate the most is, "but we can't do that live" (usually in relation to some shit amp or taking advantage of what can be done in the studio). In saying that the engineer persuaded them to try another amp (and guitar on some tracks), this was also the session where our guitarist found out I wasn't slowing down on the drums. Was actually a really good outcome, helped the band gel and we still play gigs a decade and several albums later.
I think Nigel Tuffnel and David St Hubbards summed rock up well about their "Smell The Glove" record.
David: Have you seen their cover?
Ian: No
David: It's a rather lurid cover, it's like naked women
Nigel: He's like tied down on a table with whips and they're all semi nude
Ian: What's the point?
David: Well the point is it's much worse than "Smell The Glove"
Ian: He's the victim. Their objection is that she's the victim. It's alright if the singers the victim, it's different
Nigel: It's a twist
Ian: Maybe if we had of had all of you guys tied up that would have been fine
David/Nigel: It's such a fine line between stupid and clever.
Keep up the great work Glenn
Duncan Dry's "Live Sound Mixing" is pretty much the ultimate audio for dummies book, even though it is for live sound its the perfect induction into sound in all areas, including recording. The mixerman and Michael Stav books are good for inspiring creativity
"I must be right, here's 2 comments agreeing with me."