Folk rock band leader here, I can confirm this. His skills would not go unnoticed in folk metal/rock bands. I think he was trying out for more "conventional" metal bands? Even then, hearing a violin in a context different than folk rock and metal would have been certainly something new and interesting. But then again, "new and interesting" doesn't really go with metal these days. In any case, I wish him the best of luck.
Skillful doesn't really matter (compare to classical standard) ^^ the level ask in folk band is really not that high. I play in two orchestras (first violin) and couple of folk band and a metal band, folk and folk metal are way easier to play than anything I play with the orchestra. It's like Lindsay Stirling it's really easy to play. I'm use to play Bach's Sonatas and Partitas for Solo Violin as warmup (the andante is perfect to warmup and train all kind of intervals) and these piece are way harder to play than anything I play in folk, so I don't even speak about paganini because his music are just insanly hard, like the bowing in paganini's caprice N°1. Or that Ernst's Grand caprice on Schubert's Der Erlkoning, this piece is just insane.. Just reading the sheet gives you headache.
It's much like when Synths got presets in the early 80's - Originality goes out the window when you can just press a button. The DX7 could make some fantastic sounds but most people never got past the presets. Kemper makes people lazy when they should be seeing what else it can do.
Metal is sounding generic because people in my generation refuse to do their own take on their influences and decide to sound exactly like their influences. Metalcore bands are notorious of doing that.
Everything Dyscarnate does is fucking glorious. I can't stop listening to them because they know how to write killer songs. First metal I've listened to in a LONG time that has totally sucked me in.
@NoiseFeedMusic Whether you like them or not, Avenged Sevenfold did that (catchier songs and pop melodies) to a certain extent and I don't think I've ever seen a band get more hate this side of Nickelback. The internet metal community overall is insanely unprogressive and hates changes and surprises. Some of the stuff coming out of Japan is so unapologetically non-metal and metal at the same time it's hilarious, and I don't necessarily love the final product but I really respect the mindset behind their creativity.
I find myself these days having lost almost all interest in metal... When I do listen to something it's less serious stuff or just old classics... S.O.D... M.O.D... Slayer's Undisputed Attitude... SoaD... Tenacious D... As soon as a metal band takes themselves too seriously they just become boring to me... Even if they're fantastic players
Just ordered a Kemp head and foot controller. I’m going to combine it with a helix lt ( lt for effects and to run a 4cm) and in parallel a gr 55 to create the most absurd , over kill rig in the tri-state area.
@KC I think it's more to do with the obsession with classifying everything now and limiting everything so that it fits into a specific box. This isn't just in metal, but in all sorts of music. I'm old school (or just old, depending on how you look at it), and grew up when there weren't so many subgenres. Soft rock, heavy rock, heavy metal, speed metal, thrash, death metal. That was about it. There was a little bit of debate when bands straddled between heavy and speed metal, or heavy rock and heavy metal, but generally everyone sort of fitted somewhere and it left plenty of scope for originality in those genres. Fast forward ten years and I'm sat backstage at the Majestic Theatre listening to two bands arguing about what genre they are. They're dressed the same, have the same gear, the same sound, they even play the same covers, but "We're doomcore!" "No you're not! You're deathcore, and we're grindcore!" "You don't sound anything like grindcore! And we definitely are doomcore!". I still see these arguments now, with kids saying "You can't be this subgenre because you don't do this", and "You must have this to be that subgenre". This overbearing template means that if a young kid wants to start a fucking chuggcore band or whatever, this genre-fascism is influencing to limit themselves to a certain guitar, a certain amp, a certain EQ setting and so on. Remember when Anthrax didn't sound like any of the other big thrash bands, and they ended up being instantly recognisable and awesome? There needs to be an attitude shift to where praise is given for playing anything the fuck you want instead of "Ooh, you're the wrong core".
Kana Ayano there is that too. One advantage to the old system with record labels basically controlled everything is that not much got out beyond their local area that was mediocre. With the ability to do it ourselves the world is flooded with lots of ok or plan bad bands and it’s harder for the really good ones to stand out. BTW, I totally realize I’m not one of those guys who have made it in the old days of record labels.
Definitely! To release something back then the album had to go tru lot of hands to make it done and out. now people make songs in 1 day and publish them online... :)
Having more options doesn't make metal generic. Conformity, overproduction, and lack of vision make metal generic. Thankfully, each can be consciously avoided.
@NoiseFeedMusic True enough but I've seen so many guys pushing their mids to 7 and dropping everything else to 4 while backing the gain to almost non existent that I wonder if it's even metal anymore. Granted, I grew up on Hallows Eve and Sacred Reich so I have that era of metal completely ingrained in me. I play my 7 in drop A and keep the gain up. I run my eq at 12 on the bass and mid with my treble at about 3 o'clock. I have EMGs in the 7 but my BC Rich is passive and I definitely have to tweak my settings when I switch.
8K subs away from 300K!! How bout' we help Glenn over the hump? I'm a mod for a large amp forum - I'll see if I can help bump those numbers a bit. Thanks for all you do Glenn - good luck in LA!
Hey glen, can you do a beginner series about the recording chain? Like what standard components are in a chain, what they do, and why you would want to use it. I know you've done a little bit of this in your how to videos but compiling it into one play list will also be nice.
Kemper is making metal more affordable and easily accessible. The kemper can do a lot if you know what you want tone and sound wise. Considering it gives you the option to mix your own tones or existing pre sets, so really he's got a point that it doesn't hurt to change the presets every now and then. Experiment with the kemper, it will save you a lot of money experimenting with sounds you would probably never be able to experiment with if you had to get each individual amp to do so. There's no point in blaming the technology its always the people and how they use it.
@@mdeerocks6792 That is the point of the kemper to put sounds and make presets. The kemper may not have default presets on its own, but there are plenty of good packs for cheap such as Josh Middleton's kemper pack. Regardless he's absolutely right what the artist does with these sounds is what makes a sound generic or original. Also some music shops offer packs as part of a bulk package with other accessories when selling the kemper.
@@mdeerocks6792 Kempers come with stock profiles (their website lists factory sounds and adds that some are pre-installed) and you can easily search for, download, and install more. There's a fuckload of presets. And it definitely can encourage generic tones, because being able to near perfectly recreate the same amp and settings every single time (but being less perfect when it comes to actually adjusting the settings, since Kemper profiles don't recreate the circuitry but rather the exact sound) naturally leads to the siren song of "just use the overdriven 5150 profile again, it sounds so good already!" and then before you know it every band is using the same overdriven 5150. Sure, they might be playing different songs, but the guitar timbres are going to be nearly the exact same. It's why every metal RUclipsr with decent production values sounds the same as the others - they're all using the same ideal rig for recording.
Dude, thanks to you, I'm getting ready to ditch the tracks I recorded using BIAS Amp 2 and re-recording all tracks with a miked tube amp (more than likely a 6505). Oh, and I also have a real drummer for this album (and he's Canadian!)
@@blaines8832 I have a Quick Rod and Nitro and just sold my orange 2x12 with v30s for a Splawn 2x12 with Creambacks. I dont miss my Kemper at all plus its nice living 15 minutes from Splawn's shop
One of the main reasons why I started a RUclips channel was initially to give people an idea of what kinds of music that I play. So far, it hasn't come to fruition yet but I'm hopeful that in time, I can get with people around town to start up a project or something along those lines. RUclips is a great platform, and being able to share via forums, Facebook groups etc. Hasa diga eebowai!
NICE! Thanks for recognizing the Greenbacks! My absolute favorite speaker. All you hear people talk about are vintage 30 this and vintage 30 that and higher powered speakers. The greenbacks absolutely slay! On a budget? The WGS Green Beret is awesome as well.
Hi Glenn love watching your show! You have been very helpful to me as a newcomer to recording. I thought it would be awesome if you made a video telling which records you have recorded and some interesting things about each.
I agree that it's not so much the Kemper as it is the other tools involved, and the same boring tone over and over because "YOO HAVE TO BE HAIRED." In the 80's, everyone used a JCM800, but you could absolutely tell the difference from a lot of those bands because they wanted new ways to supercharge the little fucker. Kill Em All and Beneath The Remains both used the JCM800, but you can tell them apart IMMEDIATELY.
(Love your channel Glenn!) Metal is making metal generic. There's too much of a formula alot of bands/ people are trying to follow.... don't get me wrong, I LOVE metal. It's in my DNA, but maybe it's because everything's been done? Look at youtube, it isn't enough to rip a Marty Friedman solo anymore, you also gotta sing, play drums, violin, skin flute (err...). I don't know but the wow factor is getting tougher and tougher to come by IMO.
@NoiseFeedMusic Reading your comments I think that you must listen a french metal band called Hamka. They are that balance between creativity and catchy songs...
Another good episode. My answer to your bass player question: it was Jean-Jaques Burnel who inspired me to initially pick up the bass, specifically the track 'Hanging Around' on the first Stranglers album. Yes I also play other instruments these days. ;-)
I think dude is 100% wrong when it comes to blaming the kemper or even (slate) samples for making bands sound generic. The v30/57 combo works, the samples work, and there are plenty of bands switching up their tone. If the guitar tone and how the kick/snare sounds is determining whether the music you're hearing is "generic" or not, I'd say you're listening to music the wrong way. I think every band trying to sound like whatever is popular at the time (djent, chugcore, Architects/metalcore) is making metal generic. The fact that riffs are dying and everyone wants to see how low they can tune while bouncing a few notes back and forth from the 12th fret area and open, "ambient" leads tucked under super low breakdowns, hitting some chords followed by a lead run or some tapping, etc. Composition and arrangements are what I blame for most metal sounding generic nowadays. If anyone disagrees, I'd love to hear your opinions.
I gotta disagree on this: "the v30/57 combo works" - well yeah it works, but that's not the issue. When practically every dude and his mother is using the same exact shit, it begins to sound like ass or generic or whatever term you want to use. I think that's the point. There are other factors to consider but that's the gist of it.
The obligatory, "dissonance chords," in between low riff shots is my fav of the metal formula. Spoiler alert: there aren't that many altered tones :P I mean good for people for integrating fuller harmony than the power chord, but these are starting to sound like guitarists are just writing around a requisite ugly stack o' notes to sound, "creative."
I totally agree! However, one thing I think it's cool, is that the bands that actually feels and sounds different stands out radically. And it kind of bring back the local band witch hunting for THE local band that actually got talents. My latest discoveries is Wide Eyes. Take a look at the Paradoxica EP, it's outstanding :3
One suggestion for Stephen Bartkowski, the guy in the apartment w/ the 5150, is to 1) ask the people above and below, and next to you if they'd mind, or find out when they're at work or out. Also, an isolation box for the cab isn't too bad to make. One key is to isolate the box from the floor. Hockey pucks are pretty good. Sorbothane disks are even better. Bobby Owsinski has some tips on isolating a recording studio that work well for isolation boxes as well. Mass and rigidity are your friends.
Hey Glen, been following you since the beginning, almost 😂 thank you for all your advise over the years it has helped a lot. In regards to home recording, how come you never suggest the hot plate or some other devise used for lowering your cabs volume? You're still able to crank your head and get great tube saturation this way and using I.R. becomes irrelevant and you can still have "your sound". Your thoughts?
I've heard a lot of people say that the Kemper has a "same-ness" to the distortion that doesn't accurately capture the differences between the amps. Maybe that has been resolved in newer versions of the Kemper
Long ass comment about some of the questions and answers on this video. ------------------------------------------------ Intro: Sorry for your loss, Glenn. :( ------------------------------------------------ Violin in metal: from experience, I will say that electric violin CAN work in a rock/metal context (not for everything, for sure, but it can work). There's a few metal bands who have violin in their lineup, and it works beautifully (Turisas, Korpiklaani, Eluveitie, Elvenking, Mägo de Oz and Russkaja, to name a few). I play bass in, and write music for, a Spanish folk-rock band. Besides the usual roles (vocals, guitar, bass, drums), we also have didgeridoo, tin whistle, mandolin and violin in our lineup. We based our sound around the violin, which takes more of the lead guitar role; our violinist actually told us to write his parts like we were writing for guitar (he also plays electric violin and has guitar effects pedals). It sounds great for our style. Best of luck, dude!! ------------------------------------------------ Video questions: that's a fantastic idea. ------------------------------------------------ Offensive lyrics: does nobody else find it odd that the original commenter referenced lyrics from pop songs? I have zero problems with it (I kinda like pop too, even though I'm more of a rock guy), it just caught my attention. My thoughts about it are that great art should PROVOKE you and make you think, not necessarily offend you. In both cases, it makes you uncomfortable because it takes you out of your comfort zone and question what you know. I'm not against lyrics being offensive (except for a few cases, for instance openly promoting hate against minorities) if they make you think and question what you're taught. Then again that's just my own opinion, enjoy and do whatever the fuck you want. ------------------------------------------------ Not getting screwed up by club owners: also from experience, that's a thing you kinda have to learn for yourself over time. ALWAYS ask for even the littlest thing. Club owners have the greatest creativity when it comes to screwing musicians over. The good thing is, if they screw you over once, you learn from it real quick: you never contact them again, and you add it to the list of things to be careful about. I help manage my own band and we keep a pretty detailed list about all the ways that venue owners (and other bands) have tried to screw us over so that we don't make the same mistake twice. But you can't really avoid it at first, it comes with experience. That being said, I hope you have the best of luck and that people don't fuck you over too much. ------------------------------------------------ Teaching your bandmates: that's a tough one. Myself, I have zero problems with teaching one of my bandmates a particular song. However, I can't teach them how to play their own instrument. If you're really desperate to play with him and he doesn't know how to play, charge him for lessons. BOOM, you're teaching him, playing with him AND having some income. ------------------------------------------------ Bass player toolbox: HOLY SHIT THAT'S MY COMMENT!!!!!!! Thanks, Glenn! You made my day!
What I truly think is making metal generic, and I say this as a supporter of the company, is all the JST plugins and superior drummer/GGD stuff. They sound great. But everybody uses them in metal, and they all use them the exact same way. Every metal band wants to sound exactly like the last band on a record sturgis produced. Big snare, sharp kick, thin cymbals, distorted bass with almost no low end, wall of guitars with toneforge. I see/hear it literally everyday online. Even demo songs for products on review videos sound exactly the fucking same. I love JST plugins but goddamn having such a niche audience definitely bites them in the ass. Everyone sounds the same. There’s even guys making posts going “used nothing but JST plugins on this bad boy!” Greeeeeeeeeeat.
The internet is to blame mostly in regards to the Kemper argument. Its just a huge echo chamber where people can't be bother to find their own sound. It's easy to look online at a forum where everyone says "6505/5150, ts9 and v30s". Plus everyone is playing the same 7 string Djent shit with some tapping in it and little strymon clean section. Mix it up people, even vocalists are sounding the same doing that boring hardcore shout/fry scream style. This is more a problem in modern metal like djent and metalcore. Yeah, a lot of these guys are talented but theyre doing the same thing!
Best thing about Windsor, the Ford small block V8's that came out of there. Side note: Fender/Sunn 300T with Darkglass B7K through a 6×10" & 2×15" is the most monstrous bass rig ever! Granted I play more guitar these days, I run a Peavey 6534+ with KT77's through a Mesa oversized loaded with Celestion G12H Creambacks and Weber Grey Wolves in an X-pattern. Not the conventional set up but it slays especially in the Hardcore scene!
Since you're such a weeb, I vote for Misa from Band-Maid as one of my recent favourite bassists. Her chops are on point and her live tone is sick. It's always inspiring to see what talented bassists are doing.
Favorite bass player(s): Dominic Forest LaPointe - First Fragment/Beyond Creation etc. Martino Garattoni - Ne Obliviscaris Geezer Butler Now there are 5 bass players who want to see that video. :)
Hey Glenn, you seem to be recording mainly heavier artists. But I'm wondering how you would you record something lighter like Greta Van Fleet or Thin Lizzy's tone on their records? For reference song tones, Edge of Darkness (GVF) and for Thin Lizzy, the tone on Don't Believe a Word. I have a H strat going into a Marshall Origin 20 going into a modded Boss Katana 50 combo. (Modded means I snipped the cable coming from the amp part of the combo and attached a 1/4" mono jack to the speaker). Thank you!
@MorbidManMusic Haha so you're of the camp that doesn't like them huh? That's okay man, we can disagree on it. However I will insist that they've got great tones and a good studio team behind them based on how their records sound.
While i know its not all metal check out tina guo. She is a cellist that does some rock. Also lindsy stearling also comes to mind though, like i said not metal.
So I'm not the only person who stuck in a cursed city... Long story short: I live in the northern area of Hungary, an even more cursed part of an already cursed country. I thought I'll escape this shithole by moving to Budapest where I also went to college, but the rent prices hiked up so much, and I couldn't afford one if I don't get a well paying job. Then the downward spiral started: I had to move to my father because at the time he planned to breed organic chickens due to he misremembered how eggs and meat got spoiled, I wasted even more time on travelling, had no time practicing my guitar, got separated from my friends, etc. Now I need internship time to get my degree, but there's no internship in software engineering in my area, so I stuck in the limbo of the education system. I'm even thinking on leaving college, just so I can pay for stuff for my father, or find a cheap rent in the local area. I don't have much luck with freelancing, but it seems that will be the best option if I could get some pointers where to begin. I might do some plugins too (I have planned a lo-fi sampler for my game engine to correctly emulate the sound of old systems), also I should learn how to draw scenery so I could get some money from cover art or something, not to mention my knowledge in electronics that is currently untapped. I hope something will work out for me in the long run.
Hey Glen, I love this channel! I apologize if this has been asked before. (I'm fairly new and still trying to catch up on the content.) What are your tips for a guitarist who goes between rhythm and lead in a song? When we play live I don't switch channels or hit any peddles, besides a Wah, the few times that "requires" it. In a live setting, with the way we mix our sound, it works. However, when we record the engineer throws on; reverb, chorus, or delay. In the beginning, I understood it was because they weren't the best solos and if they were going to put their name on a recording it should sound the best that it can. Our latest recordings though, he did the same thing. I have all the solos/licks down. (they're in the pocket) But he still wants to add things I don't approve of. Not wanting to waist his time with squabbling, because we do appreciate the time and effort he is putting into helping us out, I just say, "yeah thats cool man". (It does sound good, just not quite the way I would like it to sound.) I have no problem hearing what an Eng/Pro has to offer, because a lot of the time you guys are right, and add something great we didn't know we were missing. I guess the question is: where do you draw the line between listening to the band/musician for what is best for the record? And: Where do you cut in on what needs to be done to finish the project to the best of your ability, with the time and finances they have provided? Thank you so much for what you do, and if you don't have time to answer, I absolutely understand. CHEERS FROM UTAH!!!
Maybe i missed something in a previous video...have you done a tutorial on how exactly cabinet impulses work, and how to load them up in a daw? If not, i think that would something super helpful! Cheers from Michigan! Thanks for the quality content!
I have a shit load of favorite bass guitarists: Hodor, Paul McCartney, Hodor, John Entwistle, Hodor, Lemmy Kilmister, Hodor, Gene Simmons, Hodor, Chris Squire, Hodor, Jack Bruce, Hodor, Geddy Lee, Hodor, Ian Hill, and Hodor.
Those guitarists and bassists will be unemployed or not making money off their talent. Violin/viola etc players will always find work. Even if its just contract work. Don't despair, stick with it. And laugh all the way to the bank.
Follow up question to the recording with a solid state amp. I have a 100 watt Marshall MG 100. Mic it up or go direct? Same question for the pedals use one of go with the amp distortion? Pedal wise I got Boss DS1, Pro Co Rat, and a Digi-Tech Grunge. Also got a big muff.
jea i noticed that too. i recently threw out my TS and go for more ampsound. V60s are cool too. I also see a problem with greenbacks because they are also all over the place now too because people think they are the only alternative to the v30 :D
I love my Sennheiser e835 to mic a cab. Bit thicker than a 57, but not so much that it messes up the mix. Same with using an EMG 85 in the bridge (ala Killswitch), different sound but doesn't stray too far from the 81. A bit rounder, boost upper mids yourself or up the treble a notch and you've got a good chug and just as much aggression. I've learned to blend V30s with another cab like a greenback, creamback, g12, etc which will give you the good ole v30 foundation, while adding a little flavor and variation. I get the whole "if it ain't broken don't fix it", but you can still tweak it a bit. Don't need to copy everything note for note.
Been watching for about 2 months. I credit you sir because ive finally decided to put myself through barber school to have a hustle in attempt to become a metal music producer after. Keep up the amazing work bro!! Very inspirational!!
Glenn, you're spot on on the EL34 vs 6L6 debate. I used to have a Brunetti Pirata 141 head, which actually has a pair of each, with a pot allowing you to go from one pair to the other, and any blend in-between. So, perfect way to actually hear the difference, with all other things being equal. Bottom line ? Not much of a difference actually, the EL34s were a tad fuller in the mids, smoother top end, while the 6L6s have a slightly bigger bottom end and top end, slightly mid-scooped in comparison. But the again, the important word here is "slightly". Differences were tiny. Which goes to show how the way the amp is voiced is much more important than tubes in themselves. I honestly found much more differences going from one brand of tubes to another (and different bias settings) in a given amp than whatever difference going from a tube type to another made. And speakers. Now these DO make an amp sound completely different (and then, the microphone used to record it and its placement, but that's another story). So, yeah. Tube type only is one variable in the equation, and not necessarily the most important one.
Regarding WGS speakers: I have several cabs equipped with those. - Hartke GH412a , retrofitted with 4 x Veteran 30 - Homemade 1x12 with a single Retro 30 - Homemade 2x12 with a Retro 30 and a Reaper HP in combination. Personally, I like the combination in the 2x12 the best, the veteran 30 is a liitle too dark sounding in the 4x12 when used as the only speaker. Maybe a combination with a brighter speaker in an X pattern is better suited for metal.
There was a guy who played heavy metal violin and I believe his name is Mark Woods. He makes electric violins with fretted necks any play on Dee Snider's Van Helsing curse album and he was in the theatrical production in Philadelphia.
20:56 - The best investment I ever made was my Torpedo Captor. I live in a condo and if I was to try to mic an amp, I would get complaints almost certainly. With the load-box I can crank my amp and no one even hears it. Good headset, or even better in-ears, and life is amazing for an apartment guitarist/studio.
I know I'm a bit late to the party, but you asked for good new music that flies under the radar. An absolute killer for me is Mystic Sons self titled album. Been listening to that one for a while now and it doesn't get old. Bluesy, gritty, fuzzy stoner rock at it's finest.
Regarding the Kemper, it definitely isn't making Metal generic. I've used a lot of profiles, and a lot of guitars with my Kemper, and there are just so many different sounds I can get, and so many sounds I've fallen in love with. My ESP had a great, full sounding lead tone (maybe too full, in some mixes, in fact), and my custom Aristides has this stunning, cutting, yet smooth lead tone and balanced rhythm tone that is just perfect, but different to every other guitar I've ever played using a Kemper. Yes, it potentially removes the micing part of the amp, however, I don't think that's a problem. I used to own a Dual Rectifier (which got professionally miced up for my first EP), and I loved it, but I remember the first time I loaded up a Dual Rectifier setting when I played a Kemper in studio. I played it, and I just went 'Wow! This sounds better than a real Dual Rectifier.' Sold it the next week, bought a Kemper, and I've never looked back. Honestly, micing, dialing in tones, sorting out valves, that's just extra hassle that I really shouldn't be dealing with, I don't want to be in an orchestral pit, or waiting to play a new solo piece and have a valve blow, or deteriorate. I think the Kemper is one of the best inventions to ever be made in the field of guitar playing, and I honestly hope that soon it's the standard for guitar players, I'm no longer sure why 'real amps' need to exist now, and that is my honest opinion, having used a lot of different gear in my career.
My big gripe about all the tube debate is that everyone seems to forget about the KT88s, they only seem to know about 6L6s and EL84s. I wonder why KT88s seem to be forgotten.
Glenn, another really enjoyable viewers’ comments video, thanks! The comments about the Kemper really got me thinking, and started a conversation between myself and a few of my musician friends. What I think it comes down to isn’t blaming the Kemper or any piece of equipment, really, it’s about how people choose to use these tools. You’re right about people using the same speaker and the same 57 mic and seemingly attempting to re-create the same tone again and again. It is a great guitar tone, but the relative predominance of that kind of tone, and creating it with those tools, makes a lot of what we are hearing in popular modern metal kind of monotonous. That being said, we do have more tools at our disposal, and it is costing less for these tools, then ever before. It really falls on the individuals making the music, whether that’s the musicians or the studio engineers, to push the envelope and choose choose to be willing to experiment with other tools and other tones, be open minded when listening to them, and be willing to use some different tones. Whether from song to song, or between two guitars with in a given song, or with the relative ease of switching between guitar tones, like with a Kemper or a plug-in, having an indivguitar using more than one guitar tone withn a song. You can’t blame cars for people choosing to drive like morons and cause car crashes. It’s about the individual making choices. I will disagree with people saying there aren’t bands out there using different guitar tones, because there are, it’s just the overwhelming predominance of a certain narrow range of tones is in a lot of popular metal that’s coming out these days. It’s about the individuals being creative, being open-minded, and having the willingness to put something out that there’s a chance some fans may not like, but there’s also a chance that those same fans will be blown away by hearing great metal using a great guitar tone that expands the paradigm and gives us some different sounds to listen to. ... and fuck you, Glenn.
If i someone approched me wanting to play electric violin in a band, I would hire them on the fucking SPOT! I love what it adds to the sound! Seriously, Tantric wouldn't anywhere near as awesome without a violin!
You brought up a subject that's my pet peeve. Why do people want to sound exactly like each other? I could never really understand people playing tribute covers or wanting some big player's tone. I've got my own ideas, I want my own sound, I experiment freely, and I'm not afraid to fail (as long as I don't do it on stage). Sounding like another player defeats my whole purpose of going into music. Life is too short to worry about what others are playing. I've got music in my head that's got to come out!
For violins and metal: Symphonic Metal. They are very popular with this genre. Rhapsody of Fire, Luca Turilli (came from RoF), Nikolo Kotzev's Nostradamus, Nightwish (The Siren is a great example), Alestorm, and Eluviete all come to mind
Got an idea for a tee shirt for you, Glenn. "If I hurt your feelings, it's YOUR fault for having them!" Love the show, keep up the good work and stay true to your integrity, man. When you get down to it, it's all ya got!
You've hit the nail on the head, Glenn. The issue with presets on modelers is the convenience. Sure, I can download BTBAM's rhythm tone for my AxeFX, and yeah, it does sound amazing but too many people doing that causes these nice tones to become generic and instead of a unique sound it becomes "everybody's tone". My music can end up losing out on a truly fitting and unique tone if I simply use what people have used before. There is something to be said about the lack of aggression in modern guitar tones; specifically for Technical Death Metal bands. One example is The Zenith Passage's last album; incredible composition and execution but there is absolutely no aggression in the overall tone of the album. The drums are flat and papery so they can be tight enough. There is no weight to the kick drum or the snare. The guitars are flat so they can be tight enough. There is no growl or granularity to the tone. Everything is flat so it can be tight enough! I get it, I really do, but damn do I miss the days of absolutely crushing tones. Even some rather nasty, low budget tones can really make an album and absolute violent masterpiece. See Deeds of Flesh's 'Gradually Melted' or Suffocation's 'Pierced From Within'. Hell, Deicide's 'Legion' has one of the most disgusting sounding guitar tones but holy hell is that a violent and aggressive album. Hearken back to the days of Timeghoul and you'll hear atmospheric perfection achieved with a limited budget. 'Occurence on Mimas' has to be one of the greatest death metal tracks ever written and it is complemented with a dark, brooding, and foreboding atmosphere from nothing but cheap gear and very limited production methods. I love modern bands just as much as the classics but they are missing the countercultural sound of their predecessors. Almost like a black metal band with super clean production, it's kind of mehhh if you know what I mean. Metal should be dirty as fuuuuuck. Dirty can still mean 'good' when it comes to production. Give us back the fucking crushing tones and the weight of classic production with the modern mixing treatment and you've got a recipe for success in my opinion. And for christ's sake be aggressive with compressors sometimes. Not every mixing decision needs to be transparent.
Hey Glenn, you might not know that but even if you don't have a signed document a verbal agreement or a agreement by handshake is legally binding in Germany. My band just uses emails most of the time so we have a documented agreement and that works pretty well as most bookers won't sign a contract at all.
Electric Violin sounds awesome! Since we (Taurisca) lost their windpipes we took in a violin player. It's something different, but I think Violin fits in really well with hard music!
Mixing question: When do you feel something sits in the mix just right? I know it's an abstract question so i'll elaborate: I always end up "doing too much" or maybe i didnt't even do the right moves from the beginning. Though, i always find 'characteristics' to improve, like attack of the guitar, but i never really know when the guitar sits just right.
I can only speak from experience and without an agenda. I owned the Kemper powered head for 18 months and found it really good for live use. I think it was a fantastic unit and seemed reliable and was VERY LOUD but I could not get a good sound with it in my home studio. Of course I tried several routing options and lots of cab packs and it never seemed to have any low end balls or gristle. I found it a little unresponsive too, it felt a bit like flying a remote controlled plane. I sold it because I couldn't justify having a rig that cost £2,500 purely for trekking around clubs and was shit scared when having to leave it in the van. My live and recording rigs are based around valve amps, I would be willing to share my setups if anyone is interested. Cheers from UK ⭐️ 🇬🇧⭐️ x
My 12 year-old son takes violin lessons and loves the instrument. I’ve introduced him to metal throughout the years, but he hasn’t really taken to it (yet). He has his eye on an electric violin that I hope to gift him later in 2019 and wants to record a song with me at some point. I have a feeling he would totally get into a YT channel focused on metal violin.
i can really resonate to the "everybody uses v30s and an sm57" thing. i am always questioned on my speaker choice, frequently even mocked until they hear it. my favourite speaker by far is the eminence legend v12. vastly underrated speaker in my opinion. very smooth across the entire range, with pristine cleans. the crunch tone is underwhelming but i've never heard another speaker that handles cleans and the heavily distorted sounds both so well.
For me I have to say my favorite bass player has to Ryan Martini. He has insane stage presence when playing and his dynamic control on the bass is in a league of its own. Aside from that I love watching videos of Victor Wooten, especially his address to a university grad class a few years back.
" Everytime I try to get out ... they pull me back in ... " All the best wishes to you and your's. May the new year bring you nothing but good. Keep up the good work. Greetings from the Netherlands \m/.
As an Axe Fx user I can tell you that every preset sounds WILDLY different on different guitar with different players. It’s just very unlikely amp modellers could make metal generic. The fact every man and his dog is doing it and showing the world (including me) makes everything generic because nothing sticks out....across all music. The only artist that stand out are ones that have a ‘look’ or a novelty style to their aesthetics.
When I started getting into recording I bought a few popular amp modeling software but lately I’ve gone back to just micing my tube amp and buying the pedals I feel fit into my sound or the sound I’m trying to replicate in my head. Modeling software can only go so far.
If it’s anything like the US, no license and/or suspended license mean nothing. Best friends Father was hit/pinned/died beneath a non-licensed car on Chicago’s south side when the guy (who never even took drivers ed) decided to fly out of an alley onto a main road, smashing into his motorcycle and several other cars driving by....thanks humanity, cause that could’ve been avoided. But on a positive, you’re still badass. Thanks as always for the time, knowledge and content. Love, Aaron
Seismic Audio makes great guitar cabs. There are plenty of great boutique or small name cabs and the like, from Krazy Kabz to Coffee Cab to Harley Benton, some with their own speakers, and some with specific models from big speaker brands. Good options to change things up in regard to cabinet mic choices include Sennheiser e609/e906, and a plethora of drum focused instrument mics from Audix and Behringer. Also, consider using vocal mics. I use Fredman array technique with a Sennheiser e609 rev.2 "Silver" and a Behringer XM8500 vocal mic, with the Behringer mic off axis over the cap edge and the Sennheiser on axis over the cap center, though I do sometimes move it around. Sounds killer.
If you do a 6L6 vs EL34 shootout, make sure you use an amp with adjustable bias, such as a Randall, where you have sufficient bias voltage range to get both types of tubes to the proper ~70 percent idle current. Amps like the Mesa Rectifier series and even the 5150/6505 are biased way too cold to hear a difference at any reasonable volume.
Follow up question on the Di for guitars: Why doesn't it work for guitars, but it works for bass? 19:31 What could help are standard contracts; we used them when we started out, and everything is clear for everyone. If they don't want to sign, they are unreliable and you should pass up the opportunity. (ah shit, just what Glenn said, maybe I should have watched the answer). Thanks & greetings from the Netherlands!
Entombed and Dismember and Grave and Edge of Sanity are who I wanna mention when anyone mentions At the Gates sounding awesome. I havent found a volume loud enough for the Left Hand Path album that would ever make me wanna turn it off. It just gets better and they have dynamics in there instead of full speed constantly.
I'm actually using an SM58 Beta in front of my cabinet - after I saw someone take apart both the 58 and the 57 and demonstrating how similar they are. If everyone else is using the 57, I guess that means I can consider my sound less generic now... 😁
As far as the Kemper is concerned, I believe it is based on the user and the settings. If you are creating your own profiles and then tweaking them to your sound / style or even taking someone else’s and tweaking I don’t see an issue with having a Kemper. Since acquiring one it has made recording a breeze. You can also re amp / record direct and tweak to your desire. There are literally millions of possibilities and combinations of endless sound with the Kemper. I am also coming from a background of actually micing amp cabs over the past 2.5 decades, so I can see the appeal to someone just starting out to take the shortcut.
Folk metal bands will surely accept a skillful violin player!
Also just look at Lindsay Stirling. Do your own videos.
I'd give a kidney to have access to a metal shredding violin player.
Folk rock band leader here, I can confirm this. His skills would not go unnoticed in folk metal/rock bands.
I think he was trying out for more "conventional" metal bands? Even then, hearing a violin in a context different than folk rock and metal would have been certainly something new and interesting. But then again, "new and interesting" doesn't really go with metal these days.
In any case, I wish him the best of luck.
Skillful doesn't really matter (compare to classical standard) ^^ the level ask in folk band is really not that high. I play in two orchestras (first violin) and couple of folk band and a metal band, folk and folk metal are way easier to play than anything I play with the orchestra. It's like Lindsay Stirling it's really easy to play. I'm use to play Bach's Sonatas and Partitas for Solo Violin as warmup (the andante is perfect to warmup and train all kind of intervals) and these piece are way harder to play than anything I play in folk, so I don't even speak about paganini because his music are just insanly hard, like the bowing in paganini's caprice N°1. Or that Ernst's Grand caprice on Schubert's Der Erlkoning, this piece is just insane.. Just reading the sheet gives you headache.
@@j3tztbassman123 For metal I don't know for shredding violin player check any paganini music on youtube. ^^
It’s ironic. You give the ability to sound like ANYTHING but people chose to conform.
This is indeed the best observation here.
It's much like when Synths got presets in the early 80's - Originality goes out the window when you can just press a button. The DX7 could make some fantastic sounds but most people never got past the presets. Kemper makes people lazy when they should be seeing what else it can do.
Sums up the human race
Metal is sounding generic because people in my generation refuse to do their own take on their influences and decide to sound exactly like their influences. Metalcore bands are notorious of doing that.
Everything Dyscarnate does is fucking glorious. I can't stop listening to them because they know how to write killer songs. First metal I've listened to in a LONG time that has totally sucked me in.
90s death metal wave all bands also sounder the same.
@NoiseFeedMusic Whether you like them or not, Avenged Sevenfold did that (catchier songs and pop melodies) to a certain extent and I don't think I've ever seen a band get more hate this side of Nickelback. The internet metal community overall is insanely unprogressive and hates changes and surprises. Some of the stuff coming out of Japan is so unapologetically non-metal and metal at the same time it's hilarious, and I don't necessarily love the final product but I really respect the mindset behind their creativity.
I find myself these days having lost almost all interest in metal... When I do listen to something it's less serious stuff or just old classics... S.O.D... M.O.D... Slayer's Undisputed Attitude... SoaD... Tenacious D... As soon as a metal band takes themselves too seriously they just become boring to me... Even if they're fantastic players
Metallica worship kills me
But it’s balanced
Just ordered a Kemp head and foot controller. I’m going to combine it with a helix lt ( lt for effects and to run a 4cm) and in parallel a gr 55 to create the most absurd , over kill rig in the tri-state area.
Sorry for your loss Glenn.
loss?
@@aryanz66 Glenn had to go to a funeral
I am so sampling that scream at the end.. Makes for a great alert tone for my phone. Need a change of pants after I am sure
Lmfao!
That shit was funny
That scream scared the shit out of me! 😂😂😂😂
Is it just me or does this guy look kinda like Glenn Fricker?
Glenn, I'm look to run a 16 channel mixer into my DAW (ProTools 12) with my interface (M-Audio omnistudio) any recommendations?. Btw, Fuck you Glenn
Of this, there is no doubt!
I think it's just you, honestly.
I thought he looked like a bassist.
OMG cannot be unseen :O
Can’t blame the gear for a lack of creativity
@KC I think it's more to do with the obsession with classifying everything now and limiting everything so that it fits into a specific box. This isn't just in metal, but in all sorts of music.
I'm old school (or just old, depending on how you look at it), and grew up when there weren't so many subgenres. Soft rock, heavy rock, heavy metal, speed metal, thrash, death metal. That was about it. There was a little bit of debate when bands straddled between heavy and speed metal, or heavy rock and heavy metal, but generally everyone sort of fitted somewhere and it left plenty of scope for originality in those genres.
Fast forward ten years and I'm sat backstage at the Majestic Theatre listening to two bands arguing about what genre they are. They're dressed the same, have the same gear, the same sound, they even play the same covers, but "We're doomcore!" "No you're not! You're deathcore, and we're grindcore!" "You don't sound anything like grindcore! And we definitely are doomcore!".
I still see these arguments now, with kids saying "You can't be this subgenre because you don't do this", and "You must have this to be that subgenre". This overbearing template means that if a young kid wants to start a fucking chuggcore band or whatever, this genre-fascism is influencing to limit themselves to a certain guitar, a certain amp, a certain EQ setting and so on.
Remember when Anthrax didn't sound like any of the other big thrash bands, and they ended up being instantly recognisable and awesome?
There needs to be an attitude shift to where praise is given for playing anything the fuck you want instead of "Ooh, you're the wrong core".
Keeper doesn't make metal sound generic..
Generic metal artists make metal sound generic. :p
Agreed. If you're too lazy to change the amp model or at least tweak the EQ a bit, you are the problem.
Exactly, so many shitty songwriters...
Kana Ayano there is that too. One advantage to the old system with record labels basically controlled everything is that not much got out beyond their local area that was mediocre. With the ability to do it ourselves the world is flooded with lots of ok or plan bad bands and it’s harder for the really good ones to stand out. BTW, I totally realize I’m not one of those guys who have made it in the old days of record labels.
Definitely! To release something back then the album had to go tru lot of hands to make it done and out. now people make songs in 1 day and publish them online... :)
guitar tone can sound generic too, not just songwriting.
Having more options doesn't make metal generic. Conformity, overproduction, and lack of vision make metal generic. Thankfully, each can be consciously avoided.
The "Turn the mids up bro" thing is getting old. Turn up the gain, turn down the mids a bit, and chug it like we did 25 years ago.
@NoiseFeedMusic
True enough but I've seen so many guys pushing their mids to 7 and dropping everything else to 4 while backing the gain to almost non existent that I wonder if it's even metal anymore. Granted, I grew up on Hallows Eve and Sacred Reich so I have that era of metal completely ingrained in me. I play my 7 in drop A and keep the gain up. I run my eq at 12 on the bass and mid with my treble at about 3 o'clock. I have EMGs in the 7 but my BC Rich is passive and I definitely have to tweak my settings when I switch.
Diary of a mad man on violin
HELL YEA! love this song!
"Let's eat grandma," or "Let's eat, grandma." punctuation, it saves lives!
Imagine a Kerry King solo on violin.
I'm imagining a bored violin player.
Imagine a Glen Tipton solo on violin
Do violins have whammy bars!😆😆
I don't think anything can save Kerry's solos.They're objectively garbage.
We need a "Lower the Notes Lower the Expectations" Shirt for all the bass players.
Give that to the guys who buy 7 strings without being able to play well on 6 strings
Fuck yr still everywhere
@@Superblamblamman as someone who plays everything from 6-8 strings I can attest to this. 😂😂 Some people should go buy a bass.
8K subs away from 300K!! How bout' we help Glenn over the hump? I'm a mod for a large amp forum - I'll see if I can help bump those numbers a bit. Thanks for all you do Glenn - good luck in LA!
Thanks Ray!
Yeah, me and the other three actual bassists on Earth would really appreciate the toolkit video. 🤘😂🤘
Yeah xD That's why I wrote the comment in the first place
Hey glen, can you do a beginner series about the recording chain? Like what standard components are in a chain, what they do, and why you would want to use it. I know you've done a little bit of this in your how to videos but compiling it into one play list will also be nice.
Kemper is making metal more affordable and easily accessible. The kemper can do a lot if you know what you want tone and sound wise. Considering it gives you the option to mix your own tones or existing pre sets, so really he's got a point that it doesn't hurt to change the presets every now and then. Experiment with the kemper, it will save you a lot of money experimenting with sounds you would probably never be able to experiment with if you had to get each individual amp to do so.
There's no point in blaming the technology its always the people and how they use it.
Again, there are no presets on Kemper. It does not produce sound on its own. You need to profile a real amp.
@@mdeerocks6792 That is the point of the kemper to put sounds and make presets. The kemper may not have default presets on its own, but there are plenty of good packs for cheap such as Josh Middleton's kemper pack. Regardless he's absolutely right what the artist does with these sounds is what makes a sound generic or original. Also some music shops offer packs as part of a bulk package with other accessories when selling the kemper.
@@mdeerocks6792 Kempers come with stock profiles (their website lists factory sounds and adds that some are pre-installed) and you can easily search for, download, and install more. There's a fuckload of presets. And it definitely can encourage generic tones, because being able to near perfectly recreate the same amp and settings every single time (but being less perfect when it comes to actually adjusting the settings, since Kemper profiles don't recreate the circuitry but rather the exact sound) naturally leads to the siren song of "just use the overdriven 5150 profile again, it sounds so good already!" and then before you know it every band is using the same overdriven 5150. Sure, they might be playing different songs, but the guitar timbres are going to be nearly the exact same. It's why every metal RUclipsr with decent production values sounds the same as the others - they're all using the same ideal rig for recording.
Dude, thanks to you, I'm getting ready to ditch the tracks I recorded using BIAS Amp 2 and re-recording all tracks with a miked tube amp (more than likely a 6505). Oh, and I also have a real drummer for this album (and he's Canadian!)
And thanks to you i have some decent tones on my pod hd, thanks for your patches!
maskedman72 That’s awesome man! I made those videos many years ago!! But I actually still have my old HD500! Glad you found these helpful!
Make JCM800 great again.
Boost it with a Fulltone OCD, gain at 0 and tone and level cranked and you'll hear one of the heaviest tones you'll ever hear in your life
Marshall Esque tones were my favorite tones when I had my Kemper. Now I have a couple Splawns and couldnt be happier.
@@clintn6677 I have a 50 watt Splawn quickrod and it's the best amp I've ever owned.
@@Mr.Goldbar that sounds interesting.
@@blaines8832 I have a Quick Rod and Nitro and just sold my orange 2x12 with v30s for a Splawn 2x12 with Creambacks. I dont miss my Kemper at all plus its nice living 15 minutes from Splawn's shop
One of the main reasons why I started a RUclips channel was initially to give people an idea of what kinds of music that I play. So far, it hasn't come to fruition yet but I'm hopeful that in time, I can get with people around town to start up a project or something along those lines. RUclips is a great platform, and being able to share via forums, Facebook groups etc.
Hasa diga eebowai!
"Gleeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeen!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"
let's hope he won't read this one! :O
23:55 "GLENN!!!!!!" I lol'd so freaking hard 😂😂😂
I didn't know he was gonna read it like that and I laughed super hard xD
NICE! Thanks for recognizing the Greenbacks! My absolute favorite speaker. All you hear people talk about are vintage 30 this and vintage 30 that and higher powered speakers. The greenbacks absolutely slay! On a budget? The WGS Green Beret is awesome as well.
Hi Glenn love watching your show! You have been very helpful to me as a newcomer to recording. I thought it would be awesome if you made a video telling which records you have recorded and some interesting things about each.
I agree that it's not so much the Kemper as it is the other tools involved, and the same boring tone over and over because "YOO HAVE TO BE HAIRED." In the 80's, everyone used a JCM800, but you could absolutely tell the difference from a lot of those bands because they wanted new ways to supercharge the little fucker. Kill Em All and Beneath The Remains both used the JCM800, but you can tell them apart IMMEDIATELY.
I have risen
Every morning i get a rising
Bro, you are literally everywhere
That's where it went! Can I have my risen back please? I have a big meeting coming up and I could really use it.
Do you say that to your girlfriend? I can hear this in your voice. The next Morgan Freeman
EVERYONE STOP TALKING ABOUT YOUR FUCKING BONERS
(Love your channel Glenn!) Metal is making metal generic. There's too much of a formula alot of bands/ people are trying to follow.... don't get me wrong, I LOVE metal. It's in my DNA, but maybe it's because everything's been done? Look at youtube, it isn't enough to rip a Marty Friedman solo anymore, you also gotta sing, play drums, violin, skin flute (err...). I don't know but the wow factor is getting tougher and tougher to come by IMO.
@NoiseFeedMusic Reading your comments I think that you must listen a french metal band called Hamka. They are that balance between creativity and catchy songs...
Another good episode. My answer to your bass player question: it was Jean-Jaques Burnel who inspired me to initially pick up the bass, specifically the track 'Hanging Around' on the first Stranglers album. Yes I also play other instruments these days. ;-)
"Get it on paper." If nothing else, it'll baffle the bass player.
In terms of Teaching a friend to play with you... The friend needs to bring the enthusiasm and eagerness to learn. Or. Say bye bye to your friend.
Favorite Bassist, hmm...
Marco from Nightwish and Tarot. Same Tarot as mentioned in the video. Marco is also an epic vocalist.
I think dude is 100% wrong when it comes to blaming the kemper or even (slate) samples for making bands sound generic. The v30/57 combo works, the samples work, and there are plenty of bands switching up their tone. If the guitar tone and how the kick/snare sounds is determining whether the music you're hearing is "generic" or not, I'd say you're listening to music the wrong way. I think every band trying to sound like whatever is popular at the time (djent, chugcore, Architects/metalcore) is making metal generic. The fact that riffs are dying and everyone wants to see how low they can tune while bouncing a few notes back and forth from the 12th fret area and open, "ambient" leads tucked under super low breakdowns, hitting some chords followed by a lead run or some tapping, etc. Composition and arrangements are what I blame for most metal sounding generic nowadays. If anyone disagrees, I'd love to hear your opinions.
Absolutely correct!
I gotta disagree on this: "the v30/57 combo works" - well yeah it works, but that's not the issue. When practically every dude and his mother is using the same exact shit, it begins to sound like ass or generic or whatever term you want to use. I think that's the point. There are other factors to consider but that's the gist of it.
The obligatory, "dissonance chords," in between low riff shots is my fav of the metal formula.
Spoiler alert: there aren't that many altered tones :P
I mean good for people for integrating fuller harmony than the power chord, but these are starting to sound like guitarists are just writing around a requisite ugly stack o' notes to sound, "creative."
I totally agree! However, one thing I think it's cool, is that the bands that actually feels and sounds different stands out radically. And it kind of bring back the local band witch hunting for THE local band that actually got talents. My latest discoveries is Wide Eyes. Take a look at the Paradoxica EP, it's outstanding :3
One suggestion for Stephen Bartkowski, the guy in the apartment w/ the 5150, is to 1) ask the people above and below, and next to you if they'd mind, or find out when they're at work or out. Also, an isolation box for the cab isn't too bad to make. One key is to isolate the box from the floor. Hockey pucks are pretty good. Sorbothane disks are even better. Bobby Owsinski has some tips on isolating a recording studio that work well for isolation boxes as well. Mass and rigidity are your friends.
“This video is sponsored by...me!” Hahah I like that
Hey Glen, been following you since the beginning, almost 😂 thank you for all your advise over the years it has helped a lot. In regards to home recording, how come you never suggest the hot plate or some other devise used for lowering your cabs volume? You're still able to crank your head and get great tube saturation this way and using I.R. becomes irrelevant and you can still have "your sound". Your thoughts?
FMA Shirt! I like :) I got that as a tattoo^^
It cost an arm and a leg :)
I have a FMA shirt with Roy Mustang's glove about to snap his fingers and his eyes in the background. Couldn't help but buying it when I saw it.
@@SpectreSoundStudios And your second-born child?
I've heard a lot of people say that the Kemper has a "same-ness" to the distortion that doesn't accurately capture the differences between the amps. Maybe that has been resolved in newer versions of the Kemper
Long ass comment about some of the questions and answers on this video.
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Intro: Sorry for your loss, Glenn. :(
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Violin in metal: from experience, I will say that electric violin CAN work in a rock/metal context (not for everything, for sure, but it can work). There's a few metal bands who have violin in their lineup, and it works beautifully (Turisas, Korpiklaani, Eluveitie, Elvenking, Mägo de Oz and Russkaja, to name a few).
I play bass in, and write music for, a Spanish folk-rock band. Besides the usual roles (vocals, guitar, bass, drums), we also have didgeridoo, tin whistle, mandolin and violin in our lineup. We based our sound around the violin, which takes more of the lead guitar role; our violinist actually told us to write his parts like we were writing for guitar (he also plays electric violin and has guitar effects pedals). It sounds great for our style.
Best of luck, dude!!
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Video questions: that's a fantastic idea.
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Offensive lyrics: does nobody else find it odd that the original commenter referenced lyrics from pop songs? I have zero problems with it (I kinda like pop too, even though I'm more of a rock guy), it just caught my attention.
My thoughts about it are that great art should PROVOKE you and make you think, not necessarily offend you. In both cases, it makes you uncomfortable because it takes you out of your comfort zone and question what you know. I'm not against lyrics being offensive (except for a few cases, for instance openly promoting hate against minorities) if they make you think and question what you're taught. Then again that's just my own opinion, enjoy and do whatever the fuck you want.
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Not getting screwed up by club owners: also from experience, that's a thing you kinda have to learn for yourself over time. ALWAYS ask for even the littlest thing. Club owners have the greatest creativity when it comes to screwing musicians over. The good thing is, if they screw you over once, you learn from it real quick: you never contact them again, and you add it to the list of things to be careful about. I help manage my own band and we keep a pretty detailed list about all the ways that venue owners (and other bands) have tried to screw us over so that we don't make the same mistake twice. But you can't really avoid it at first, it comes with experience. That being said, I hope you have the best of luck and that people don't fuck you over too much.
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Teaching your bandmates: that's a tough one. Myself, I have zero problems with teaching one of my bandmates a particular song. However, I can't teach them how to play their own instrument. If you're really desperate to play with him and he doesn't know how to play, charge him for lessons. BOOM, you're teaching him, playing with him AND having some income.
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Bass player toolbox: HOLY SHIT THAT'S MY COMMENT!!!!!!! Thanks, Glenn! You made my day!
Yeah, I had a lot to say xD
Thanks, Jack!
Wow ,really wow.
Sorry about your loss Glenn. Good luck in L.A. man and I hope you become a full time RUclipsr. You are awesome vand I enjoy your show.
Shouldn’t it be “bass players do it worser”?
tried that & nobody bought it
What happened? Suddenly people learnt their grammar?:))
Just listened to Corrosion Of Conformity's blind since Glenn Mentioned it and HOLY CRAP! That was amazing!
The original Ampeg SVT is the greatest bass amp ever made!
What I truly think is making metal generic, and I say this as a supporter of the company, is all the JST plugins and superior drummer/GGD stuff. They sound great. But everybody uses them in metal, and they all use them the exact same way. Every metal band wants to sound exactly like the last band on a record sturgis produced. Big snare, sharp kick, thin cymbals, distorted bass with almost no low end, wall of guitars with toneforge. I see/hear it literally everyday online. Even demo songs for products on review videos sound exactly the fucking same. I love JST plugins but goddamn having such a niche audience definitely bites them in the ass. Everyone sounds the same. There’s even guys making posts going “used nothing but JST plugins on this bad boy!” Greeeeeeeeeeat.
The internet is to blame mostly in regards to the Kemper argument. Its just a huge echo chamber where people can't be bother to find their own sound. It's easy to look online at a forum where everyone says "6505/5150, ts9 and v30s". Plus everyone is playing the same 7 string Djent shit with some tapping in it and little strymon clean section. Mix it up people, even vocalists are sounding the same doing that boring hardcore shout/fry scream style. This is more a problem in modern metal like djent and metalcore. Yeah, a lot of these guys are talented but theyre doing the same thing!
Best thing about Windsor, the Ford small block V8's that came out of there. Side note: Fender/Sunn 300T with Darkglass B7K through a 6×10" & 2×15" is the most monstrous bass rig ever! Granted I play more guitar these days, I run a Peavey 6534+ with KT77's through a Mesa oversized loaded with Celestion G12H Creambacks and Weber Grey Wolves in an X-pattern. Not the conventional set up but it slays especially in the Hardcore scene!
Since you're such a weeb, I vote for Misa from Band-Maid as one of my recent favourite bassists. Her chops are on point and her live tone is sick.
It's always inspiring to see what talented bassists are doing.
Favorite bass player(s):
Dominic Forest LaPointe - First Fragment/Beyond Creation etc.
Martino Garattoni - Ne Obliviscaris
Geezer Butler
Now there are 5 bass players who want to see that video. :)
Hey Glenn, you seem to be recording mainly heavier artists. But I'm wondering how you would you record something lighter like Greta Van Fleet or Thin Lizzy's tone on their records? For reference song tones, Edge of Darkness (GVF) and for Thin Lizzy, the tone on Don't Believe a Word. I have a H strat going into a Marshall Origin 20 going into a modded Boss Katana 50 combo. (Modded means I snipped the cable coming from the amp part of the combo and attached a 1/4" mono jack to the speaker). Thank you!
@MorbidManMusic Haha so you're of the camp that doesn't like them huh? That's okay man, we can disagree on it. However I will insist that they've got great tones and a good studio team behind them based on how their records sound.
10:36 - "...when it comes to changing out the strings... it's probably not gonna make a big difference." I knew it! - signed a bass player
While i know its not all metal check out tina guo. She is a cellist that does some rock. Also lindsy stearling also comes to mind though, like i said not metal.
Considering we all use the same amps anyway (5150’s, JCM 800’s, Mesa’s, and etc...) I would say we have been sounding the same for decades.
all of em can be traced back to Fender Bassman
So I'm not the only person who stuck in a cursed city...
Long story short: I live in the northern area of Hungary, an even more cursed part of an already cursed country. I thought I'll escape this shithole by moving to Budapest where I also went to college, but the rent prices hiked up so much, and I couldn't afford one if I don't get a well paying job. Then the downward spiral started: I had to move to my father because at the time he planned to breed organic chickens due to he misremembered how eggs and meat got spoiled, I wasted even more time on travelling, had no time practicing my guitar, got separated from my friends, etc. Now I need internship time to get my degree, but there's no internship in software engineering in my area, so I stuck in the limbo of the education system. I'm even thinking on leaving college, just so I can pay for stuff for my father, or find a cheap rent in the local area. I don't have much luck with freelancing, but it seems that will be the best option if I could get some pointers where to begin. I might do some plugins too (I have planned a lo-fi sampler for my game engine to correctly emulate the sound of old systems), also I should learn how to draw scenery so I could get some money from cover art or something, not to mention my knowledge in electronics that is currently untapped. I hope something will work out for me in the long run.
Hang in there bud.
Hey Glen, I love this channel! I apologize if this has been asked before. (I'm fairly new and still trying to catch up on the content.) What are your tips for a guitarist who goes between rhythm and lead in a song? When we play live I don't switch channels or hit any peddles, besides a Wah, the few times that "requires" it. In a live setting, with the way we mix our sound, it works. However, when we record the engineer throws on; reverb, chorus, or delay. In the beginning, I understood it was because they weren't the best solos and if they were going to put their name on a recording it should sound the best that it can. Our latest recordings though, he did the same thing. I have all the solos/licks down. (they're in the pocket) But he still wants to add things I don't approve of. Not wanting to waist his time with squabbling, because we do appreciate the time and effort he is putting into helping us out, I just say, "yeah thats cool man". (It does sound good, just not quite the way I would like it to sound.) I have no problem hearing what an Eng/Pro has to offer, because a lot of the time you guys are right, and add something great we didn't know we were missing.
I guess the question is: where do you draw the line between listening to the band/musician for what is best for the record? And: Where do you cut in on what needs to be done to finish the project to the best of your ability, with the time and finances they have provided?
Thank you so much for what you do, and if you don't have time to answer, I absolutely understand.
CHEERS FROM UTAH!!!
favourite bass player? that's gotta be Les Claypool
I really glad to hear you're close to being full-time youtuber!
Favorite bassist is Ryan Martinie
Yes.He is the best!
Maybe i missed something in a previous video...have you done a tutorial on how exactly cabinet impulses work, and how to load them up in a daw? If not, i think that would something super helpful! Cheers from Michigan! Thanks for the quality content!
Flogging Molly is my advice to the violinist
Craig Shewchuk or some Gogol Bordello
I have a shit load of favorite bass guitarists: Hodor, Paul McCartney, Hodor, John Entwistle, Hodor, Lemmy Kilmister, Hodor, Gene Simmons, Hodor, Chris Squire, Hodor, Jack Bruce, Hodor, Geddy Lee, Hodor, Ian Hill, and Hodor.
Hodor
Those guitarists and bassists will be unemployed or not making money off their talent. Violin/viola etc players will always find work. Even if its just contract work. Don't despair, stick with it. And laugh all the way to the bank.
Follow up question to the recording with a solid state amp. I have a 100 watt Marshall MG 100. Mic it up or go direct? Same question for the pedals use one of go with the amp distortion? Pedal wise I got Boss DS1, Pro Co Rat, and a Digi-Tech Grunge. Also got a big muff.
Metal needs to breakout from the tubescreamer, V30s and SM57 trend, use a different pedal, mic and speaker...you might just sound unique
jea i noticed that too. i recently threw out my TS and go for more ampsound.
V60s are cool too. I also see a problem with greenbacks because they are also all over the place now too because people think they are the only alternative to the v30 :D
I switched to Creambacks from V30's after years of thinking V30 or nothing. I will never restrict myself to a "standard" setup again
Ramble FX Marvel Drive + Celestion Golds + literally any other mic.
Yes, i Love my Hesu Demon Speaker with the Lewitt Mic´s. Also sounding cool is a Sontronics S1 on Guitar Cabinets, yes it´s a Snare Mic :)
@MorbidManMusic You just poked the bear with a box of honey nut cheerios on a stick.
I love my Sennheiser e835 to mic a cab. Bit thicker than a 57, but not so much that it messes up the mix. Same with using an EMG 85 in the bridge (ala Killswitch), different sound but doesn't stray too far from the 81. A bit rounder, boost upper mids yourself or up the treble a notch and you've got a good chug and just as much aggression. I've learned to blend V30s with another cab like a greenback, creamback, g12, etc which will give you the good ole v30 foundation, while adding a little flavor and variation.
I get the whole "if it ain't broken don't fix it", but you can still tweak it a bit. Don't need to copy everything note for note.
Been watching for about 2 months. I credit you sir because ive finally decided to put myself through barber school to have a hustle in attempt to become a metal music producer after. Keep up the amazing work bro!! Very inspirational!!
Glenn, you're spot on on the EL34 vs 6L6 debate. I used to have a Brunetti Pirata 141 head, which actually has a pair of each, with a pot allowing you to go from one pair to the other, and any blend in-between. So, perfect way to actually hear the difference, with all other things being equal.
Bottom line ? Not much of a difference actually, the EL34s were a tad fuller in the mids, smoother top end, while the 6L6s have a slightly bigger bottom end and top end, slightly mid-scooped in comparison. But the again, the important word here is "slightly". Differences were tiny. Which goes to show how the way the amp is voiced is much more important than tubes in themselves.
I honestly found much more differences going from one brand of tubes to another (and different bias settings) in a given amp than whatever difference going from a tube type to another made.
And speakers. Now these DO make an amp sound completely different (and then, the microphone used to record it and its placement, but that's another story).
So, yeah. Tube type only is one variable in the equation, and not necessarily the most important one.
Me and the other three bass players all ready have it figured out, the differences keep getting more numerous
Regarding WGS speakers: I have several cabs equipped with those.
- Hartke GH412a , retrofitted with 4 x Veteran 30
- Homemade 1x12 with a single Retro 30
- Homemade 2x12 with a Retro 30 and a Reaper HP in combination.
Personally, I like the combination in the 2x12 the best, the veteran 30 is a liitle too dark sounding in the 4x12 when used as the only speaker. Maybe a combination with a brighter speaker in an X pattern is better suited for metal.
There was a guy who played heavy metal violin and I believe his name is Mark Woods. He makes electric violins with fretted necks any play on Dee Snider's Van Helsing curse album and he was in the theatrical production in Philadelphia.
20:56 - The best investment I ever made was my Torpedo Captor. I live in a condo and if I was to try to mic an amp, I would get complaints almost certainly. With the load-box I can crank my amp and no one even hears it. Good headset, or even better in-ears, and life is amazing for an apartment guitarist/studio.
I know I'm a bit late to the party, but you asked for good new music that flies under the radar. An absolute killer for me is Mystic Sons self titled album. Been listening to that one for a while now and it doesn't get old. Bluesy, gritty, fuzzy stoner rock at it's finest.
Regarding the Kemper, it definitely isn't making Metal generic. I've used a lot of profiles, and a lot of guitars with my Kemper, and there are just so many different sounds I can get, and so many sounds I've fallen in love with. My ESP had a great, full sounding lead tone (maybe too full, in some mixes, in fact), and my custom Aristides has this stunning, cutting, yet smooth lead tone and balanced rhythm tone that is just perfect, but different to every other guitar I've ever played using a Kemper. Yes, it potentially removes the micing part of the amp, however, I don't think that's a problem. I used to own a Dual Rectifier (which got professionally miced up for my first EP), and I loved it, but I remember the first time I loaded up a Dual Rectifier setting when I played a Kemper in studio. I played it, and I just went 'Wow! This sounds better than a real Dual Rectifier.' Sold it the next week, bought a Kemper, and I've never looked back. Honestly, micing, dialing in tones, sorting out valves, that's just extra hassle that I really shouldn't be dealing with, I don't want to be in an orchestral pit, or waiting to play a new solo piece and have a valve blow, or deteriorate. I think the Kemper is one of the best inventions to ever be made in the field of guitar playing, and I honestly hope that soon it's the standard for guitar players, I'm no longer sure why 'real amps' need to exist now, and that is my honest opinion, having used a lot of different gear in my career.
My big gripe about all the tube debate is that everyone seems to forget about the KT88s, they only seem to know about 6L6s and EL84s. I wonder why KT88s seem to be forgotten.
Glenn, another really enjoyable viewers’ comments video, thanks!
The comments about the Kemper really got me thinking, and started a conversation between myself and a few of my musician friends. What I think it comes down to isn’t blaming the Kemper or any piece of equipment, really, it’s about how people choose to use these tools.
You’re right about people using the same speaker and the same 57 mic and seemingly attempting to re-create the same tone again and again.
It is a great guitar tone, but the relative predominance of that kind of tone, and creating it with those tools, makes a lot of what we are hearing in popular modern metal kind of monotonous.
That being said, we do have more tools at our disposal, and it is costing less for these tools, then ever before. It really falls on the individuals making the music, whether that’s the musicians or the studio engineers, to push the envelope and choose choose to be willing to experiment with other tools and other tones, be open minded when listening to them, and be willing to use some different tones.
Whether from song to song, or between two guitars with in a given song, or with the relative ease of switching between guitar tones, like with a Kemper or a plug-in, having an indivguitar using more than one guitar tone withn a song.
You can’t blame cars for people choosing to drive like morons and cause car crashes. It’s about the individual making choices.
I will disagree with people saying there aren’t bands out there using different guitar tones, because there are, it’s just the overwhelming predominance of a certain narrow range of tones is in a lot of popular metal that’s coming out these days.
It’s about the individuals being creative, being open-minded, and having the willingness to put something out that there’s a chance some fans may not like, but there’s also a chance that those same fans will be blown away by hearing great metal using a great guitar tone that expands the paradigm and gives us some different sounds to listen to.
... and fuck you, Glenn.
If i someone approched me wanting to play electric violin in a band, I would hire them on the fucking SPOT! I love what it adds to the sound! Seriously, Tantric wouldn't anywhere near as awesome without a violin!
You brought up a subject that's my pet peeve. Why do people want to sound exactly like each other? I could never really understand people playing tribute covers or wanting some big player's tone. I've got my own ideas, I want my own sound, I experiment freely, and I'm not afraid to fail (as long as I don't do it on stage). Sounding like another player defeats my whole purpose of going into music. Life is too short to worry about what others are playing. I've got music in my head that's got to come out!
For violins and metal: Symphonic Metal. They are very popular with this genre. Rhapsody of Fire, Luca Turilli (came from RoF), Nikolo Kotzev's Nostradamus, Nightwish (The Siren is a great example), Alestorm, and Eluviete all come to mind
Got an idea for a tee shirt for you, Glenn. "If I hurt your feelings, it's YOUR fault for having them!" Love the show, keep up the good work and stay true to your integrity, man. When you get down to it, it's all ya got!
You've hit the nail on the head, Glenn. The issue with presets on modelers is the convenience. Sure, I can download BTBAM's rhythm tone for my AxeFX, and yeah, it does sound amazing but too many people doing that causes these nice tones to become generic and instead of a unique sound it becomes "everybody's tone". My music can end up losing out on a truly fitting and unique tone if I simply use what people have used before. There is something to be said about the lack of aggression in modern guitar tones; specifically for Technical Death Metal bands. One example is The Zenith Passage's last album; incredible composition and execution but there is absolutely no aggression in the overall tone of the album. The drums are flat and papery so they can be tight enough. There is no weight to the kick drum or the snare. The guitars are flat so they can be tight enough. There is no growl or granularity to the tone. Everything is flat so it can be tight enough! I get it, I really do, but damn do I miss the days of absolutely crushing tones. Even some rather nasty, low budget tones can really make an album and absolute violent masterpiece. See Deeds of Flesh's 'Gradually Melted' or Suffocation's 'Pierced From Within'. Hell, Deicide's 'Legion' has one of the most disgusting sounding guitar tones but holy hell is that a violent and aggressive album. Hearken back to the days of Timeghoul and you'll hear atmospheric perfection achieved with a limited budget. 'Occurence on Mimas' has to be one of the greatest death metal tracks ever written and it is complemented with a dark, brooding, and foreboding atmosphere from nothing but cheap gear and very limited production methods.
I love modern bands just as much as the classics but they are missing the countercultural sound of their predecessors. Almost like a black metal band with super clean production, it's kind of mehhh if you know what I mean. Metal should be dirty as fuuuuuck. Dirty can still mean 'good' when it comes to production. Give us back the fucking crushing tones and the weight of classic production with the modern mixing treatment and you've got a recipe for success in my opinion. And for christ's sake be aggressive with compressors sometimes. Not every mixing decision needs to be transparent.
Hey Glenn, you might not know that but even if you don't have a signed document a verbal agreement or a agreement by handshake is legally binding in Germany.
My band just uses emails most of the time so we have a documented agreement and that works pretty well as most bookers won't sign a contract at all.
Electric Violin sounds awesome! Since we (Taurisca) lost their windpipes we took in a violin player. It's something different, but I think Violin fits in really well with hard music!
Mixing question: When do you feel something sits in the mix just right? I know it's an abstract question so i'll elaborate: I always end up "doing too much" or maybe i didnt't even do the right moves from the beginning. Though, i always find 'characteristics' to improve, like attack of the guitar, but i never really know when the guitar sits just right.
Good luck on your move to LA and happy New Year. Are you going to be at NAMM?
Really enjoy your channel Glenn! Good luck in LA- it’s not as nice as Windsor but you’ll adapt
Sorry to hear about your loss.
I can only speak from experience and without an agenda. I owned the Kemper powered head for 18 months and found it really good for live use. I think it was a fantastic unit and seemed reliable and was VERY LOUD but I could not get a good sound with it in my home studio. Of course I tried several routing options and lots of cab packs and it never seemed to have any low end balls or gristle. I found it a little unresponsive too, it felt a bit like flying a remote controlled plane. I sold it because I couldn't justify having a rig that cost £2,500 purely for trekking around clubs and was shit scared when having to leave it in the van. My live and recording rigs are based around valve amps, I would be willing to share my setups if anyone is interested. Cheers from UK ⭐️ 🇬🇧⭐️ x
My 12 year-old son takes violin lessons and loves the instrument. I’ve introduced him to metal throughout the years, but he hasn’t really taken to it (yet). He has his eye on an electric violin that I hope to gift him later in 2019 and wants to record a song with me at some point. I have a feeling he would totally get into a YT channel focused on metal violin.
i can really resonate to the "everybody uses v30s and an sm57" thing. i am always questioned on my speaker choice, frequently even mocked until they hear it. my favourite speaker by far is the eminence legend v12. vastly underrated speaker in my opinion. very smooth across the entire range, with pristine cleans. the crunch tone is underwhelming but i've never heard another speaker that handles cleans and the heavily distorted sounds both so well.
For me I have to say my favorite bass player has to Ryan Martini. He has insane stage presence when playing and his dynamic control on the bass is in a league of its own. Aside from that I love watching videos of Victor Wooten, especially his address to a university grad class a few years back.
" Everytime I try to get out ... they pull me back in ... "
All the best wishes to you and your's. May the new year bring you nothing but good. Keep up the good work. Greetings from the Netherlands \m/.
As an Axe Fx user I can tell you that every preset sounds WILDLY different on different guitar with different players. It’s just very unlikely amp modellers could make metal generic. The fact every man and his dog is doing it and showing the world (including me) makes everything generic because nothing sticks out....across all music. The only artist that stand out are ones that have a ‘look’ or a novelty style to their aesthetics.
When I started getting into recording I bought a few popular amp modeling software but lately I’ve gone back to just micing my tube amp and buying the pedals I feel fit into my sound or the sound I’m trying to replicate in my head. Modeling software can only go so far.
If it’s anything like the US, no license and/or suspended license mean nothing. Best friends Father was hit/pinned/died beneath a non-licensed car on Chicago’s south side when the guy (who never even took drivers ed) decided to fly out of an alley onto a main road, smashing into his motorcycle and several other cars driving by....thanks humanity, cause that could’ve been avoided.
But on a positive, you’re still badass. Thanks as always for the time, knowledge and content.
Love,
Aaron
Seismic Audio makes great guitar cabs. There are plenty of great boutique or small name cabs and the like, from Krazy Kabz to Coffee Cab to Harley Benton, some with their own speakers, and some with specific models from big speaker brands. Good options to change things up in regard to cabinet mic choices include Sennheiser e609/e906, and a plethora of drum focused instrument mics from Audix and Behringer. Also, consider using vocal mics. I use Fredman array technique with a Sennheiser e609 rev.2 "Silver" and a Behringer XM8500 vocal mic, with the Behringer mic off axis over the cap edge and the Sennheiser on axis over the cap center, though I do sometimes move it around. Sounds killer.
If you do a 6L6 vs EL34 shootout, make sure you use an amp with adjustable bias, such as a Randall, where you have sufficient bias voltage range to get both types of tubes to the proper ~70 percent idle current. Amps like the Mesa Rectifier series and even the 5150/6505 are biased way too cold to hear a difference at any reasonable volume.
Hey Glen, my current fave speaker for 4X12's is Emminence CV-75, cool sound and priced so even a bass player could afford one. Cheers from West Texas!
Follow up question on the Di for guitars:
Why doesn't it work for guitars, but it works for bass?
19:31
What could help are standard contracts; we used them when we started out, and everything is clear for everyone. If they don't want to sign, they are unreliable and you should pass up the opportunity. (ah shit, just what Glenn said, maybe I should have watched the answer).
Thanks & greetings from the Netherlands!
Entombed and Dismember and Grave and Edge of Sanity are who I wanna mention when anyone mentions At the Gates sounding awesome. I havent found a volume loud enough for the Left Hand Path album that would ever make me wanna turn it off. It just gets better and they have dynamics in there instead of full speed constantly.
I'm actually using an SM58 Beta in front of my cabinet - after I saw someone take apart both the 58 and the 57 and demonstrating how similar they are. If everyone else is using the 57, I guess that means I can consider my sound less generic now... 😁
As far as the Kemper is concerned, I believe it is based on the user and the settings. If you are creating your own profiles and then tweaking them to your sound / style or even taking someone else’s and tweaking I don’t see an issue with having a Kemper. Since acquiring one it has made recording a breeze. You can also re amp / record direct and tweak to your desire. There are literally millions of possibilities and combinations of endless sound with the Kemper. I am also coming from a background of actually micing amp cabs over the past 2.5 decades, so I can see the appeal to someone just starting out to take the shortcut.