The Band wants to re-record for Free??? | SpectreVC

[@RudyAyoub]

This video is brought to you by Distribution child

[@NOTSERP69]

😂😂😂😂

[@wrmusic8736]

I always read that as Distrophy kid

[@lonelyvariety]

Took a few seconds to get this

[@daleweber2579]

it's the child from the Disc Makers that's been helping Independent musicians for over 70 years. Google Disc Makers they do everything DistroKid does plus a bit more.

[@nicksigman3266]

Dale Weber nah disk makers fees and pros are higher from what I remember. I’ve used both and also CD baby. DK has the lowest fees across the board for me... they might be a subdivision but they seem to operate differently.

[@AnitaPotterProductions]

Commas save lives! "Let's eat grandma." "Let's eat, grandma." :D

[@NOTSERP69]

XD

[@localmusiclover605]

That exact same poster was in my social studies and English room

[@MRBLuD]

This deserves a shirt.

[@TimmyTantrum]

Let's not forget capitalization, either. "I helped my Uncle Jack off a horse." Vs. "I helped my uncle jack off a horse."

[@lonelyvariety]

DickTruth your username goes well with that

[@falconismbot9370]

I can't believe how many people complain on how you handle this channel. You and Warren Huart are the leaders in my opinion on the production side of KZbin, and both of you have your unique KZbin style. Keep doing what you're doing Glenn!

[@heavymetalmixer91]

Second that.

[@georgekay372]

I watch both religiously. Also Warren might just be the most wholesome person on KZbin.

[@guitar19971]

When I was 17 I went with my band to record an EP and I brought along my main guitar and amp at the time. An Epiphone Les Paul Standard Pro and a Marshall Valvestate. When I got to the studio the engineer offered that I could use his gear because he said it would probably help me get a better tone. He pulls out a top of the line PRS singlecut and a Peavey 6505. I jumped on that shit in half a second. I don't understand why a musician would want to compromise their record for the sake of pride? For me it was simple: his gear was better, it would sound better and I wanted to play on it.

[@maxscardanelli6185]

DeclanG You’d have to be a special kind of stupid to say no to that engineers rig. Then again, knowing musicians...

[@wilbertcook5076]

I agree with you I would of jumped at that chance too. Egos and pride take a backseat to what is best for the band. Selfish and egotistical people will always ruin a good situation if your in a band with one pack your stuff and run as fast as you can they will not change

[@guitar19971]

Max Scardanelli you really do. It sounded amazing.

[@Mattdiaz86]

Agreed same with me when I was 18. Had a faded Gibson SG and Marshall valve state . The engineer offered me his custom LP into a Mesa boogie dual rec. I was beyond blown with the tone

[@ferox965]

My producer offered his gear to me as well. While being open minded, I had my Rickenbacker 4003 and Orange Bass terror...after trying stuff, we went with my gear, with the bass terror head going direct with slight compression and that was it....whatever works is whatever works.

[@danzouph1695]

"CHRIS! THOSE ARE NOT YOUR FRIENDS!"

[@victoreijkhout6146]

Glenn's insights are just brilliant.

[@danzouph1695]

@@victoreijkhout6146 I agree!

[@th3gr81]

He’s totally right.

[@florianstumpf4349]

Yeah, fuck those guys!

[@priyonjoni]

Just wanted to add this in regards to the topic of how to use multiple interfaces. If you have a small interface that doesn't have ADAT and you have a Mac, you can aggregate multiple interfaces together so your DAW will read all the interfaces as one single interface. This is very useful for DAWs that can only use one interface at a time for inputs and outputs, which is I think the majority of most DAWs. There is an article on this on Ableton's website, titled "Using Aggregate Devices and multiple audio interfaces". This technique however is only exclusive to Macs. Hope this helps!

[@digiscream]

It's not exclusive to Macs...you can do this pretty easily on Linux, too - the only OS you can't reliably do it with is Windows. However, even with the operating system support in OS X and Linux, you'll still end up with clock drift over time if your interfaces aren't all running off a single clock, and that can be a major pain in the ass.

[@michaeljensen1625]

I was just going to basically say the same thing.

[@adamlee011]

Asio4all might do it in windows depending what you're trying to do. Idk of clock is going to be an issue with that route. Haven't tried it but noticed it can look at multiple devices and use them as one in a daw.

[@digiscream]

adam hajrula - the clock will *always* be an issue, unless the devices themselves are synchronised to a single external clock via hardware. This can be using ADAT, S/PDIF or a dedicated clock...if the devices don't have that capability, you're going to get pops and clicks as you record.

[@UrduMorhaer]

been there, done that. only issue really was that the other interface was about 40ms off, late in my case. easy fix in reaper but really don't recommend for bigger projects

[@digiscream]

Re: the first one...we've just re-tracked the drums at a mate's studio prior to him mixing it (on the basis that the original drums were just horrible). Half way through, it became apparent that a few of the guitar tracks were balls, so we had to re-record...so we put on the brakes, went away to re-record it all at our end (and do a bit of re-amping), and the rest of our mixing's been put on hold longer than we'd like which has affected our release schedule a bit. Guess what? WE'RE STILL PAYING HIM THE ORIGINAL ASKING PRICE AND WE'RE NOT COMPLAINING ABOUT THE SCHEDULE, BECAUSE HE'S A MATE AND HAS TO EAT...and we're not assholes. Hell, he's done us a massive favour with the original pricing, so we paid ~70% of it up front even though he didn't ask us to. Treat the folk doing work for you as well as you can, people. It's worth it.

[@Stalfo85]

Not judge your customers? This guy has obviously NEVER worked in the service or retail industries.

[@Stalfo85]

Travis M. This could spawn an entire rant video by itself.

[@Stalfo85]

Glenn has heard me rant enough on the subject, ha ha.

[@DrumWild]

Judgmental people are total dicks. wait...

[@blakecurtis7809]

TJ_The_Drummer Service industry work blows. I like getting a free meal and decent cash tips yet that cannot make up for clueless and impatient customers ruining the work day.

[@MrInitialMan]

Not a word of a lie--when I worked at a liquor store, someone wanted a "special deal" because of all the booze he bought. All I gave him was a free box to carry it in (the box would have otherwise gone in the recycling bin)

[@mikeh892]

Big "HELL YES!" to the Pussy Melter review. Thing sounds killer from the clips I've heard, plus you might get the bonus of more butthurt comments for future VC episodes.

[@maxscardanelli6185]

I semiconductors this immensely!

[@maxscardanelli6185]

*Second. Dammit autocorrect!

[@michaelenochs5024]

@@maxscardanelli6185 I liked the first comment haha

[@Kadotus]

Haista vittu, Glenn! And have a nice weekend!

[@OEpistimon]

On the topic of multiple drum performances, Chris Adler recorded that way for Sacrament. One kicks performance, one snares/toms performance with room mics, and one cymbal performance with the overheads.

[@MrTikne]

There would be no other studio where I would love to record, than SMG... And to have Glenn as an engineer /producer... Now that would be gold! Cheers from Finland!

[@becketdejesusgomezguzman8956]

I really enjoy when you answer all this questions! Greetings from México!

[@memoulloa1011]

Awesome episode. And thanks for the interface bridge conection trick, that's gonna be so useful.

[@Lilrockerdude13]

Hey Glenn I know you have made some comments about some older bands starting to lose their groove especially coming into their elder ages now. Just came back from River City Rock Fest in San Antonio and let me tell ya Joan Jett still knows how to command the stage and crowd. Wife and I loved every moment of her set. Seeing Paul McCartney for ACL Week2 hopefully he still has the magic too.

[@slavesforging5361]

joan jet played here in Denver last year at a summer festival. she looked and sounded amazing! That lady is rock n roll incarnate! awesome stage presence, awesome sound, awesome vibe.

[@2550marshall]

You know, recently, every time I watch one of your vids a "Get Good drums" commercial plays. Why would they want to sponsor your "sampled drums hating" channel?

[@GoneAfterMidnight]

I've gotten those ads as well haha

[@hausofchains6097]

Well Glenn thanks to you and Warren from Produce Like a Pro my band recorded some very solid tracks this weekend! I think we will leave the Mixing and Mastering up to the pro's though! Thanks again!!

[@highpeakrecordings]

Glenn- I'm probably your age if not older and I'm not into metal particularly (or record it). But my word do I love your channel - funny and informative, I never miss an episode. So thank you for all you do. Am I meant to say, 'F*ck you!' at this point? Dunno ;-)

[@Anvilshock]

It's okay to spell it out. People are saying it in their head when they read anyway, so don't be a hypocrite. Share the filth!

[@samuliauno8163]

About recording drum-by-drum. I've understood it's common practice to record bass drum separately for long fast ostinatos. A good example would be Opeth's Heir Apparent (Pro Mix Academy unboxing video). This reduces excessive low end bleed on other mics.

[@victoreijkhout6146]

Glenn has a particular type of bipolism. He goes between foul-mouthed tirades and bursts of just terribly useful information. That bit about multiple interfaces was worth the price of admission. The cursing and f-bombs are just the cherry on top :-)

[@booshting3520]

You know nothing about bipolar, obviously.

[@victoreijkhout6146]

You know nothing about jokes, obviously.

[@booshting3520]

@@victoreijkhout6146 jokes are funny, what you wrote was not. It was ignorant though.

[@danielmccarten4357]

Boon Doggle Give the guy a break... it was obvious what he meant.

[@booshting3520]

@@danielmccarten4357 you also know nothing about bipolar

[@L1tanY]

It's the engineer's task to record the best performance possible, it's the band's job to help the engineer get that recording.

[@squidcaps4308]

Re-recording: unless it is technical glitch that is engineers mistake: it's regular hours, regular pay.. If there is hiss, hum, distortion or other direct engineering mistake, that requires re-recording session for free, unfortunately. This is also an issue where maintaining house rules religiously pays off: keep your input levels consistent, keep the early workflow consistent, document, keep naming rules intact and the whole process can be done in record time, pun half intended. It can help the band to make that decision since often re-recording the things they want to change do work in the way they wanted. So if the re-recording and re-mixing takes half the time it took the first time, or less... they may take up the offer, it is good throw-away line at the end of bad news : "it'll be half the time since we can use most of the settings as is.." ;) But they need to bring their absolute A game , there will not be time for lot of retakes. The good side is also that the changes are done with the material already half way there so there will be no decisions to make, just direct path to the end (unless the band is full of indecision..which is also why regular rates apply, it will cost them, not you) Also: vedä vittu päähän, Glenn :)

[@YvesPomerleau]

I once recorded drums piece by piece about 15 years ago. I programmed everything in MIDI first so that I would have a "map" of when I needed to hit each drum and cymbal and followed it on the screen. It wasn't very hard, just took a long time to do and it was a fun experience. The drums were not tuned, the cymbals were B8 and the single close mic was a cheap electronics store dynamic BUT, I can say it sounded more organic and more human than samples. Yup, would definitely like to see a professionally recorded version!

[@wtfever2474]

Glen, if I may offer another combo and suggestion... The Mesa/Boogie 50 Caliber+ can be found for nearly the same price as a Peavey 5150/6505 combo, and while it's a bit less intuitive to dial in, it's of a much better build quality, comes with a great speaker (EVM 12L or Mesa branded Celestion Super Lead 80). It was Pepper Keenan's weapon of choice and for good reason, it flat out slays, and blends well with other hi gain amps.

[@EdgarsLS]

I got in a band just before turned 14. And at first I was scared for my life playing but after about a month I was the happiest kid ever playing in that band.

[@TheProgGuy]

Other good Combo amps worth mentioning (not necessarily high gain metal amps): - Blackstar HT & Artist series - Marshall DSL & Origin series & 2525C - Orange Rocker series - Fender Supersonic 22 - Mesa Boogie Rectoverb 25 - Peavey Classic 30 All of these are dependant on budget. Scout around Reverb(dot)com for used deals on any of these amps or what Glen mentioned...the Peavey 6505 combo or EVH 5150 combo.

[@hausofchains6097]

Lot's of combo amp discussion today, after years of playing live with about every combination my current rig is an Orange crush 120 pro and will probably stick with this forever.

[@animalfort3183]

120c? I have the c60 and i am thinking about getting the head and cab.

[@hausofchains6097]

peter alva Yes the CR120C. For me it is the ideal stage amp and it has made it on to this last record as well.

[@animalfort3183]

@@hausofchains6097 I feel like I should have went with the 120c instead but I am glad I have the 60 for practice. Im actually looking at Orange pedals as well but so far the getaway driver seems like something useful other than the fur coat. What pedals do you recommend for the crush series renegade?

[@hausofchains6097]

peter alva If you check out our tunes for the most part I am plug and play, I use very few effects and zero distortion/drive pedals everything from the amp. The nice thing about the 120c is it has I think 4 stages of gain, please don't quote me on that but I was able to dial in the exact sound I wanted with no additional pedals.

[@hausofchains6097]

peter alva I think this track is 50/50 120c and Marshall DSL with the lead track being the 120c kzbin.info/www/bejne/rHOmmJV7rdRlhbc

[@DrumWild]

The musicians who get upset, angry, or otherwise offended need to stop and evaluate what they are doing. They're setting themselves up for a big lesson the hard way. [Long post ahead] Those who get upset, angry, or offended are the type of people who have come to some kind of determination that this particular brand is always the best, and will never, ever put out anything that is lower in quality, or maybe even bad. This leaves them open to financial exploitation down the line. It can also be embarrassing for them. They'll start to subconsciously make excuses as they aggressive defend the brand. This happens because they've taken the brand and hitched their wagon to it. As a result, any critique of the product is then taken as a _personal attack._ This is not how one lands in a place where they have solid gear that works for them, based on proper evaluation. In my guitar collection, I have a handful of guitars made by a specific brand. This is not because they were made by that brand, but because _these specific, particular guitars, which happen to be made by this brand, worked well for me._ I had an idea of what I wanted to accomplish, and then checked out gear to find it, without regard to brand. Remember, these corporations don't give ONE flying fuck about YOU, so you owe them NOTHING beyond your money if they have something that is good for you. Every piece of gear that I play or use is for this reason, and not because it has a brand name on it, or because it enjoys a level of popularity. _Argumentum Ad Populum_ never works. I learned my lesson in brand loyalty in a relatively cheap and simple way. Remember *_NEW COKE,_* by chance? It sucked more than a Hoover vacuum convention, and that lesson cost me less than a buck. Corporations are run by people, and people are flawed. They can do their best to be infallible and still fuck up. Be ready to catch that when it happens, and protect yourself. Don't be a fanboy, for your own protection. Being a loyal fanboy will result in wasting money on bad gear, and will also make you come off as stupid in discussions. _Know WHY you like the gear, for your own sake._ Then, be willing to grow, and then subsequently change your mind.

[@metal_helm]

Warren is great as well. I've been calling it forever now, but I want to see you guys work together on an album and film it all!!!

[@CellarLakeStudios]

For the one asking about connecting multiple interfaces. If you are on a mac, Go to Applications --> Utilities --> Audio Midi Devices and Create an "Aggregate Device" It makes a virtual device and you can combine input devices. Just set one as the master to sync word clock.

[@cloudie_eye]

Hey Glenn, love your videos. Was wondering if you’ve ever come across any blind musicians or work with any other visually impaired engineers? I lost my site about three years ago and picked up the guitar to express my frustrations and fell in love with it. I am currently trying to teach myself Recording in production and use reaper as my DAW as well as Logic Pro sometimes because they’re both fairly accessible using screen reading software. Also wondering what your preferences between the two, currently I prefer reaper.

[@daleonov]

Hi Damon! I know someone who's visually impaired and does recording. Find Scott Chesworth (scottsdalehollow) on facebook. He uses Reaper as far as I know, he might be able to point you in the right direction.

[@DrumWild]

I pre-ordered the Pussy Melter pedal a while back, so looking forward to getting it in October.

[@gozer9556]

@SpectreSoundStudios love your segments man, this channel has really been growing on me. After about 12 years of not playing I started practicing guitar again with a vengeance and it has reinvigorated my life. Back in the late 90's I remember recording tracks onto a Tascam 424 MKIII on cassette tape lol. I started using Cubase 9 about a year or so ago and love it - your videos are definitely helpful pointing in the right direction for things that aren't necessarily as intuitive for a non-professional. One of your posts actually got me into using a mic for recording guitar instead of just line-in, using a Sennheiser E609 but looking to get a SM57 so I can use both. I guess my unsolicited posting of my consolidated musical life summary is my way of saying thanks for the inspiration you provide to others who have a passion for music in any and all capacities in which they participate. Cheers brother!

[@TheReal_Dicey]

Hi Glen. The comments on recording drums piece by piece reminded me of something. Ever try recording the drums and cymbals separately? It worked for Songs for the Deaf :)

[@DrumWild]

I have sometimes recorded digital drums and analog cymbals separately. It usually turns out great. Here's an example: kzbin.info/www/bejne/goK8dWR3f8adrbc

[@TheReal_Dicey]

@@DrumWild Sounds cool, and great for some level of realism I suppose, but I'm wondering about recording the shells of the drums and overdubbing the cymbals. I've seen it done a few times, great for when you want to be able to smash the drums with a compressor without getting squashed cymbals, especially when the client wants that sound and the drummer is quite cymbal heavy. Getting a drummer to try it out for the first time can also be a great way for everyone to have a laugh in the studio :)

[@Jigglenomicon]

The Joyo BanTamP VIVO is pretty fucking awesome as well, its supposed to be modeled after a Peavey 5150

[@AXPena]

That individual drum performance comparison video would be so cool!

[@dustinshadle732]

if I remember correctly, peavey sold off the 5150, regretted it, then came out with the 6505 to get the same sound. I'm gonna say I'm interested in seeing more of that new Solar baritone. I was looking into Solar guitars, and I noticed the shipping. looking at a couple more months of saving.

[@portlandshomlessproblem1728]

My dad recorded my band for free. we recorded live off the floor so there was no re doing tracks. By the way he uses a a scarlet 4i4 into his MacBook Pro running logic he also uses a beringer expansion to give him more inputs

[@grzegorzbarniak4852]

Hey Glenn we're starting a new band. There are four of us, we don't really know one another but we know we've got some skills (been sending recordings). What songs would you recommend to us to learn to play together and how far away should we go from the target genre (hard rock)? Keep the show running!

[@jakobsteve8710]

Glenn, I recall Doyle from the Misfits talking about the production of his album Doyle: Abominator, when they recorded the drums, they would make a kick beat, using samples- then would add live drums around the sample kick. What are your thoughts on this?

[@luketick]

Your "comma" retrospective is outstanding!! I wanna drink with you!!!

[@baumansound]

Glen, you mentioned a lop of sample drums, real drums, good sounding samples, realistic performance from real drums and all.. But if you just can't go to a studio to record real drums (For time and money, the band is a hobby), how do you feel about playing an electronic drum (which can be played on an apartment) triggering hight quality samples? This way you still get (close to) a real performance, and is much cheaper, for a hobby band which takes over 2 years to release a record. I know it's kind of "the good enough" you were talking about on a video, but what if sometimes is just not viable? What are your thoughts on that?

[@dictabeat]

I had a bugera 333xl amp head and I loved it in the live shows. When I went into the studio, the engineer recommended using his Kemper profiler amp and let me pick the amp simulation. Good case of being honest to yourself. Sometimes your own gear might not be the best gear just because you paid for it. The recording ended up great and I don't regret it.

[@gabrielazzopardi6037]

YES! mic pre-shootout, please, Glenn!

[@joeyjones9041]

I was 11 when I started playing drums in a band, when I was 15 I switched to guitar and vocals. You're never too young or old to play in a band.

[@LeighWesleyMusic]

Hey Glen, was listening to your response about connecting multiple interfaces and inputs through adat. Thought i'd asked do you know much about Dante have you ever looked into or considered using it in the studio? It took me a while to wrap my head around it but now that I get it, I'm thinking it's a great way to go.

[@sartoriusrock]

Another trick for connecting two interfaces if you are a Pro Tools user don't have ADAT (rare these days, but it does happen): Go into the audio settings of your computer ("Audio/MIDI Setup" on Mac, unsure where to find it on Windows) and set up a Pro Tools Aggregate Device. Add both interfaces to this aggregate, choose one to be the digital sync source. In Pro Tools, choose "Pro Tools Aggregate Device" as your playback engine, and you should be good to go. I've found this to work pretty well with multiple USB/Thunderbolt/Firewire interfaces, but it can cause some problems with Dante if you're trying to use that. Best of luck!

[@yeagerhaus]

I'd love to see a mic pre shootout. That would be really interesting

[@JimijaymesProductions]

I'm doing my friends ep and they are paying me for it despite how long it has taken (all parties involved have work schedukes that clash) and they are paying me for my time not just waiting till the end. So decent friends that see your worth will pay fairly.

[@JohnnyMegabyteCanada]

decent Combo amp is Traynor YCV40, which you can get used $200 to $250. For Metal. Dime the Gain. Crank the Bass (8 to 10). Then activate the Boost. And it has a great Clean channel, and also for Distortion pedals, if you like that route.

[@benjaminprietop]

Would you ever consider doing a series on sound for film? I'm a film major and the few sound-related classes I had there were shit, I'd love to learn more about that and if anyone could do it, I think it would be you

[@devilsdoorbell]

Yes to the mic pre video. I'd be interested to see that.

[@yggrekretransmission]

Just to get back to the combo vs amp head + cab debate, there is one thing to consider if your band is about to start to play gigs. Aside from the tone you would get from one choice or another, it it worth noting that the primary reason you would want a head instead of a combo is that is it less heavy to transport to the venue IF there is a cab available there, which is not always the case, especially if it is one of your first gigs. Having to transport both the head AND the cab may be more tedious than just a smaller combo amp, although the smaller heads that are made nowadays could make less of a difference. I own both (bigger type of amp head) and have found myself using the combo more, since it can be used as is and I can potentially plug it into a cab if there happens to be one available on the spot.

[@petarpavasovic6333]

Mic pre shootout would be fantastic! I would love to see one!

[@Czyszy]

9:54 I do that all the time and yes, do a video on that, Glenn!

[@frodijr]

Looking for advice, I'm working on a project where the drummer is recording his parts with an electronic kit in his home by himself (Lives in different continent). What would ve the best way to record this? Whole performance onto midi track? Midi tracks onto seperate tracks? The samples only? Or some combination?

[@tristank1]

Glenn, I made a comment about a Marshall you destroyed some time ago (I haven't changed my mind), anyway, in this video and the one of the guitar unboxing, you have away a lot of free advises that I just have to say, you're an incredible an excellent human being, so lucky I didn't stop watching your videos Greetings from Colombia (South America), best regards Camilo

[@JKC40]

MOTU allows you to connect multiple audio interfaces to the same machine and they chain together. Windows 7 or later shouldn't get confused from multiple USB or Thunderbolt or firewire audio interfaces, if the interfaces support multiple instances.., (MOTU, some Presonus... dunno about RME I'd have to ask them)

[@HASTN]

When people ask what I do as an audio engineer, I say that I record, produce, set up equipment, mix, and I often have to inform bands that their baby is ugly. It's all about the best performance. Cheers to all the people who have taken criticism constructively, It pays off. Feelings aren't facts.

[@meekoloco]

Glenn! I LOVE the drunk Cartman voice! And you really rock, keep bringing the truth!

[@HyborianDemonKnight]

Hey Glenn really loving your stuff! A question, whats your workflow for all the hardware gear you have? Do you use ReaInsert then print?

[@kernelxsanders]

Hey Glenn, on projects involving midi drums, I would like to print each instrument to their own .wav files (kick, snare, etc) so I can save on cpu loads, and it's just nicer having a waveform to mix with as opposed to. Is there an easy way to go about this? Perhaps through the consolidation function? (using Reaper, by the way)

[@ladyjulia4038]

Hey Glen I would love some advice on recording live off the floor from the musicians point of view. I'd like to be as prepared as possible when my band and I go to the studio.

[@DrumWild]

Bob Marley's band recorded everything live at once. The problem was that they had only 8 tracks, yet they had about 40 musicians. This meant that everyone had to share a microphone and everyone had to be PERFECT. If just ONE person messes up, it means a do-over. With that, they rehearsed for at least 8 hours per day EVERY day for one full month before recording. The most extreme example of this can be found in The Kepler Quartet, as they recorded off-the-floor for Ben Johnston's compositions. They had TEN compositions, and spent almost TEN years rehearsing, and then FOUR years actually recording. Although they used Pro Tools, they treated it like tape, and did take after take. It took them 1,999 takes. You can witness the end of their journey here: kzbin.info/www/bejne/r520goRmac9_eqM And here is an example of the final product: kzbin.info/www/bejne/jaGah514qbR9bZY It's hard as fuck for a band to do this. It takes lots of personal practice, as well as lots of band rehearsal. Dedication, tenacity, and digging in when you'd rather give up and do something else. I've been recording for 40 years, and have only been in a few situations where we could do this. My last band to do this was in the mid-2000s, where we recorded with Travis Dickerson, who records Buckethead and L7. 15 songs in two 8-hour sessions. Time is money, so the tighter you guys are, the better it will go. However, if you try this and are not prepared, then it's possible that you've spent time and money for nothing. That's learning the hard way. It's an exciting thing to do if you are prepared. Best of luck!

[@ladyjulia4038]

@@DrumWild Thank you so much reading all of that and checking out the recordings was very helpful. My band is jst a 3 piece so I dnt think it'll be as crazy as bob Marley haha. We are very tight and well rehearsed at the 5 songs we wanna put out but I'm afraid we are gonna get in the studio and find that we are not as tight as we thought. I've jst always loved the sound and the raw energy of live off the floor. It's the only way I wanna do these songs to be honest. Would recording ourselves on a phone and listening back to it to be sure we are tight be a good idea?

[@DrumWild]

Julia Speer Oh yes! ALWAYS record yourself if you are preparing to hit the floor in this manner. The last band I did this with, which I mentioned, was also a three piece. A recording never lies. If you can listen to it objectively, be honest, and work toward corrections, then your band can become a true monster in the studio and on the stage. Then you can do a take, get a "safety take " or two, and be done quickly. In the end, you'll have a solid product, and maybe a few bucks left over. As a heads-up, if nobody in your band has recorded in a studio before, know that some musicians experience a special kind of panic when they see the red "RECORDING" light. This is the kind of pressure that can really kill the session. But if you are prepared and ready, then this may be more easily overcome. I've also done lots of dubbing, track-by-track. It's fun and interesting, but there is nothing like the satisfaction of doing what you're considering. I'm actually excited about it on your behalf, and hope it goes well.

[@ladyjulia4038]

@@DrumWild Thank you so much I am excited too but now I know that we need to prepare more. Better I learn it now then while we're recording though. I do have one more question though if you don't mind. The other two musicians are very green. Not as far as ability but they've never played a show or recorded or even been in a band. So is there any way I can help them over that initial panic when they see the red light?

[@DrumWild]

Julia Speer Since they are this new, it will be a challenge, but it is not impossible. The band can start by setting up and playing for a trusted audience, such as in a back yard family gathering. Just run the five songs. Later, maybe find a coffee house and play there. Five songs, and done. That's nowhere near a full set, but this is about starting out and getting feet wet. The weird thing about musicians with audiences is that sometimes it is more intimidating to play in front of three people whose faces you can see, instead of a bigger crowd. I had my first band when I was 12 years old. I'd play at public events, the local fish fry, and any other event I could find. The idea of this is that there are relatively low consequences. I will admit that we royally sucked! We were horrible, at least for the first 18 months. Once we got better, we even played a grand closing of a gas station blowing out their gas for 99 cents with no tax. Big lines of cars and helicopters. By the time I was 15, we were ready to go on the stage at the state fair in front of 40,000 people. It might also help if they know that rehearsals are being recorded, so they can get used to the idea of recording. Recording on the floor, with the entire band playing live in one take, is very difficult. The previous video was one example, but a more close-to-home example of a conventional band comes from the great Elton John. On his "Captain Fantastic and the Brown Dirt Cowboy" album, he and the entire band tracked songs live. They were at the top of their game, after many, many years of playing live, recording, and all of this. It took them this long to get there, even though all of them were professional, seasoned players. In one session, they decided to track two songs back-to-back: "We All Fall in Love Sometimes" and "Curtains." This recording is rather EPIC, and you won't believe it was tracked in that way. kzbin.info/www/bejne/Z3zPnoJphZeVqNE The famous pianist and songwriter NEIL SEDAKA set foot into the control booth while they were recording. After hearing the first song and part of the second, he asked if they were rehearsing and warming up. The producer told him the were recording the entire band live, and his jaw dropped to the floor. That is how difficult this is to do. What you want to do is admirable, and it is also HIGHLY ambitious. I don't know if it's TOO ambitious, but I will not discourage anyone from trying, especially if they really want to try it. In music, especially in the beginning, be ready for disappointment, rejection, fear, frustration, and other challenges. You get my respect for ambition and motivation. Again, and I am rambling, stay motivated and positive. Surround yourself with positive, safe people whom you are comfortable with. This is not so they can always say you're great, even when you are not, but so they can tell you something is bad, and you can take it seriously without getting hurt feelings. Music is so very personal. Having your own critical ear, and a trusted second opinion is valuable. My wife has a sign to hold up when I'm with a band coming up with new drum parts. It says, "THAT SUCKED!" Oddly enough, it does not hurt one bit. I laugh a little when I see it, and think of adjustments. Best of luck.

[@darkbackward4085]

Here's a situation I'm sure you'll enjoy. A few years ago I had a guitarist in the studio who brought in a modeling amp to use for recording. He wanted a "plexi tone" for one of the songs. I have a fairly decent amp/speaker cab collection which includes a really nice 50 watt Marshall plexi. When I offered the FREE use of that amp, he declined in order to use the plexi model. He stated that the model was superior to the real thing even though he had never played through an actual plexi head! I honored his request even though the model sounded NOTHING like a plexi. Customer is always right, correct?

[@bryanbryanics]

I personally wouldn’t go to Glenn’s studio, but I would love to have him as a producer.

[@Module79L]

Yeah, we might be almost at the end of September BUT THE DAMN HEAT WON'T GO AWAY!!! Greetings from a fucking hot Portugal. : /

[@sqlb3rn]

I have a Focusrite 2i4 with two inputs. To record acoustic drums, would it make sense to run all the mics into a mixer, and then run the L and R mixer outputs to the two Focusrite inputs? Or would I be better off just buying something like the 8 input Scarlett instead?

[@anythingelse1428]

And I'd say do both of those video suggestions

[@ziptor12]

Hey Glenn, I just heard the new song from Nita Strauss "Our Most Desperate Hour", and the leads are all buried in the mix to me. It sounds wrong to me to have them so low on an instrumental album, and sells Nita's talent way short. What do you think about this mix? Cheers from Atlanta!

[@eliasaltman4439]

For the guy wanting a good metal combo, I’d recommend the Peavey Bandit 112. I got one after a year of playing guitar and I still use it sometimes because it sounds killer. It’s cheap, it’s good, and it’s metal as fuck

[@Stratboy999]

Glenn: When you are slagging off drum samples are you specifically slagging individual hits or actual loops? I have to use drum loops for my home recordings and although it's often hard to find a loop with the feel and sound that I would prefer they do the job for the most part. How do you feel about loops?

[@markdancer3501]

Hey Glenn, it you're making a video comparing interfaces, how about including something basic (e.g., Focusrite Scarlett) and something using your banf for the buck pre and compressor (ART Pro of Warm Audio or whatever) in the mix to show how much improvement you can get by going up the price range. As always, love the videos, and F U Glenn.

[@lanceolson5988]

My guitar distortion tone sounds good when I'm just playing my guitar or playing back my recordings in Reaper, but once I render it to literally ANY music file and audio quality, the tone is significantly more fussy and it's driving me nuts. The virtual instruments I'm using aren't doing this. Is there anything I can do to fix it? Should I just try recording in Studio One (which I also own)?

[@Afroduck91]

A lot of people in my local music scene use the more big name amplifiers regardless of price, even if they don't have solid tones. I broke the mould by getting a Laney Ironheart 60w combo amp, and have managed to pull amazing tones through it. What do you think is the reason that people buy Marshall, Line-6, etc, over an amp that will do the job right for their music style?

[@calebhooper4266]

Hi Glenn, I was wondering if you’d be interested in trying metal on non metal amps, like Vox and Fender. Sort of like what you did with the Strat, Tele, and other guitars. Is that something that you would want to do in the future?

[@joeybaronstudio]

@10:00 once in the analog days a kick track got erased so I replaced it by tapped on a head of a sm57 , and sounded awesome, and was easy to do...oh how I miss those days

[@themightymcb7310]

Glenn I'm gonna keep suggesting this until you do it, but you've just GOT to get a Peavey 6505MH or a 6505+ Combo in for a review. Both can be had for great prices, especially used, and both draw inspiration from the 5150. I'm seriously considering the MH for the price and the attenuation, but I've seen the combos go for cheap enough that I'm thinking about grabbing one of them instead

[@kerilop98]

Always the best advices glen !!

[@C0nnie]

Holy shit mom I made it

[@x2spooky4me]

"This thing is more expensive than this thing so it must be better!"

[@DrumWild]

That is a frustrating mindset, no doubt. In my guitar collection, I have a PRS that cost me $6,800. goo.gl/ZY6eJs I got it because I like it, my fiance thought it was "pretty," and because I can afford it. But hanging on the wall right next to it is a $130 Fender acoustic that I bought 18 years ago. It's got damage on the top and has seen a lot of shit, but it plays just as great. I keep that Fender as a reminder that expensive does not necessarily mean better by default. And better comes down to what a person wants to achieve, which is subjective.

[@salvador36a]

It's usually true

[@brendanoneil3489]

@@salvador36a Yes, strangely playing top end gear in an amateur band -despite 35 years of playing, caused a certain jealousy. so sad. Just wanted to sound as good as I could.

[@lahattec]

Absolutely on the mic pre tests.

[@jacee8094]

Slayer did that individual drum thing kinda on Show No Mercy. Lombardo recorded all the drums first, and then the cymbals after that. Also I saw a used 5150 combo for $500, and didn’t get that shocked, but once I saw it was a 2x12, I thought that was crazy

[@blakecurtis7809]

On recording drums individualy: recording the drums and cymbals separate can work great. Butch Vig, Dave Grohl and Queens of the stone age are big on that and great results. Slayers first album was done that way, between loud ass Paiste cymbals and being so close to the drums the engineer had difficulty getting good levels/mix. As for drum by drum cymbal by cymbal i agree that is a lot of work. I could see alot of soft- hard notes inconsistently being played. Never catch me doing that yet if it works for them that's great.

[@aleksanderdjuran8010]

Would love to see a review of some "sleeper" tube amps like the b52 at-100 or carvin x100b. They're comperable to the peavey windsor in price and I've seen people pull of some great toans with them. If you can find some hidden gems for a fearless gear review that'd be sick! Cheers :)

[@podgemurray4377]

Hello there mango!. Been getting a lot of seriously good recording tips for recording off this channel. thanks for the absurdly vast amount of content you post. Its extremely helpful. I was wondering if at some point you would do a series of mixes on subscribers stems they could send to you!? I think that would be really cool. I don't think you should do it for free though, charge for it, and also make some cool video content going over what you would do to the stems and maybe go over what the original newbie engineer might have done wrong and how to fix that in terms of mic techniques and such!

[@autodidacticprofessor869]

If you're on a Mac you can use Aggregate Device and put almost any number of different I/O devices in the aggregate and you choose a master and the Mac can align the timing of all the interfaces together, via "drift control". It works amazingly well. I have an Apollo Twin and a Clarette 4pre as well as an ASP800 working off the Apollo via ADAT. Everything syncs perfectly. If you're a PC user, you can use "ASIO4ALL" drivers on PC but they are a little sketchy, so it's probably best to do it with a master clock/slave as Glenn suggests.

[@jayson3900]

And, yes, do a video of recording drums for the purpose of making samples. I've wondered about this for 20 years or so.

[@Living_Scarcity_7086]

Hey, Glenn. I'm a guitarist who's looking to buy his very first 4x12 guitar cabinet, but not quite sure which one to get. What's the cheapest/best cabinet you'd recommend?

[@moribnd]

Yes, you should do a video wherein you sample an acoustic drum set piece-by-piece and create an entire drumset of samples (if that is what you were imagining for a moment).

[@Knifeawatermelon]

Tracking one drum at a time would be a sick video 🤘. As long as you’re down for the work. Make a mix featuring yourself on drums 😂.

[@TheChadPad]

I think it's insane that the Joyo Zombie head is just $170! I gotta recommend that to my metal head friend. Also, mad respect for 10:36

[@kevinb.3244]

Hi Glenn. I've recently acquired a Focusrite audio interface just to record some ideas and track my progress with guitar, but I'm getting some horrible interference / noise that I just can't get rid of. Gain levels on both the interface and speakers are good, it's not coming from the instrument(s), and everything is plugged on the same power outlet to avoid ground loops issues. I'm not getting anywhere as much noise if I'm using a laptop running on battery, so it has to be some kind of electrical problem. My question is, would a anti-EMI/RFI power strip or an inverter help me get rid of this shit ? Thanks in advance and cheers from France

[@Thatblackz28]

Neptuüne I had this issue and the problem was the xlr cable. The connection at the mic had just the tiniest cunt hair of a wiggle. Replaced the cable and audio hum feedback was gone. Might not be the issue, but it’s worth checking into.

[@12ealDealOfficial]

Three things because I had this problem once: 1) Does the sound of the feedback change when you point your pickups away from your computer/ monitors? 2) Are your pad/ inst switches engaged on the input? 3) Country Man T-85

[@kevinb.3244]

12ealDeal Hey. No difference whatsoever when changing position (or even going outside of the room) relatively from the computer / speakers, I don't have any of these switches on the interface (it's a secondhand Clarett 2pre USB, and the speakers a pair of JBL LSR305, got all of this for a STEAL : just a tad more than a brand new Scarlett 2i2 studio package with the mic and headphones, couldn't really pass on this as I'm tight on budget), but as stated before the levels are good. I'm not sure how a direct box could help me, but I don't know much about it. What does it do exactly ? As said before, every clue is pointing at a somewhat faulty electrical installation. I'm getting buzzing sound and a huge spike around 100Hz which is most likely an harmonic (or at least that how I think it is called) of my domestic 50Hz electric power.

[@kevinb.3244]

Psy Klone Hey. Already tried with other cables I've borrowed, and the issue is still there. I've been trying to work this out for a few weeks now, I'm running out of ideas haha

[@12ealDealOfficial]

Neptuüne A good DI box converts your unbalanced guitar signal into a balanced signal across XLR, and ensures your signal is as clean as possible. Also gives you the option to lift the ground. You can fake it with a pad/ inst switch on your interface but you said you don't have one. Sounds like you got it figured out though.

[@solsnirshaool3234]

Hey Glenn. What are your thoughts on the AX8 by Fractal Audio? Apparently, it's got the same sound as the Axe-FX II, but it's about $1000 cheaper. Since it seemed like your main complaint about the Axe FX was the price I was wondering if you thought that the AX8 was better.

[@nauroticdax]

Greetings from UK Glen On using 2 usb interfaces, I use an M-track and an old UA-20 that I modded the power on (because it has no internal power filter) and run it through ASIO4All into ableton live 10. Install ASIO4All then on your DAW go into the audio settings and set it to ASIO4All, Then it should automatically open up the In/Out toggles and go to town adding all the inputs and outputs you want. For me this was a little bit of trial and error as it numbers the In/Out in the DAW and doesnt name anything but depending on how many you add it shouldn't take long to figure out (atleast in ableton it does) As far as I know this method will work on all DAW's and it certainly works on everything I use and it's fairly stable, This is also a great way to run signal to hardware effects and back into the DAW without too much of a headache depending on what interface you are using Cheers

[@rickdagrexican7351]

Hey Glen! Keep kicking fucking ass! Do you know any live sound guys that post videos in a similar vein as yours? That's the end of the music industry I'm in, albeit the lower bar cover band end. Yes, you can feel bad for me because at least twice a weekend I'd hear Summer of 69, Your Love and Don't Stop Believin', but if I land this job I applied for, I can finally stop believing! At least the bands I work with, for the most part, have people in them who practice, have seriously good gear and talent! Worked a short stint at a local theater as crew, and there were touring bands that didn't have the level of gear these cover bands have! I shit you not.

[@Oilid]

Never too young to start a band. But is there a "too old period"? 😁

[@mandolinic]

No. The only time it's too late to start a band is after your funeral.

[@Oilid]

@@mandolinic Michael Jackson is still releasing stuff.....

[@DrumWild]

I'm waiting for the new Tupac stuff. I think that "too old" applies only to entering the mainstream, which is all about popularity, youth culture, and general garbage. The music seems to be the last thing they care about, almost like an afterthought.

[@Take-the-Ticket]

Ew gross

[@chimperikson8308]

Fuck no there isn't. Jam on a ghost guitar if you have to.

[@TheBudhead75]

Also 8string mixing. 5150iii 50 thoughts love mine, but always value input. Thx Glenn

[@keefjunior4061]

Does anyone have any idea what the costs would be, for renting out Glen and his studio for a month? Or someone like him. I feel like it might well be worth it for the band. It’d be a bit like having an extra member for a while, I’d think.

[@kierenmoore3236]

Yes to a Mic Pre shootout, too!! 😀

[@guitargamez7930]

Glen, can you show a way to get a good metal tone with the bare minimum then explain how you did it. I dont have the best equipment but I do have a fullbore metal distortion pedal