ME. I've been doing this forever.. ;) Last rig was 2 RK's ;) Currently running: SWITCHBONE V2 A - Lehle P-Split CLEAN - is always my trusty JC ROLAND 120 H + JC 160 B - Tube Screamer Ibanez - Lehle P-split GAIN - Mesa QUADpre with a decimator into Mesa Coliseum 300 amp + RK with a Mesa 5 band EQ and a decimator Dial in the tone on each amp individually, then run them simultaneously with independent volume pedals to blend. 2 Mesa half back 4x12's 1 Mesa armor plated OS 4x12 1 Diezel 2x12 FL 1 Mesa 2 x 12 recto 1 Mesa 1x12 Theile 200 w EVM Add in a 2notes .. CAB M for a direct signal with some Killer IR blends Pure Tonal Bliss Cheers, Amigo.
This was thoroughly enjoyable. Thank you. Purchased the course to get more insight. Lots of cool stuff in there. Took it upon myself to simulate the whole signal path “in the box”, using Reaper. Was certainly a brain exercise. 😂😂
Kinda wild that I've been doing something similar with JCM 800 and a 5150 (plug-ins anyway) and I accidentally got something pretty close to Bolt Thrower's Those Once Loyal tone. Really cool to see the pros doing something that I thought was just me goofing around with weird ideas.
Heck yeah this is how I record guitars! I use a POWERED aby going into 2 amps, 2 cabs and usually ribbon and dynamic on each cab. (Different speakers of course) Love this approach do much.
Just getting that phase aligned is the biggest takeaway. I like that he uses Reaper. Pretty cool. I'm going to try and see how it visually holds up Logic. To anyone trying to get that 'sound' though..good luck, John Browne is a fucking beast of a player. This is a really cool approach, but It's his playing style and the riffs he writes that shines. Thanks for sharing this guys, especially with those of us who haven't yet drank the Kult Kool-aid. ;) 🤘
I read somewhere that Adam Jones from Tool would send his guitar signal out through 3 different amps & cabs simultaneously to get such huge guitar tones on his last couple records.
You could skip the phase alignment issues in a couple of ways. You could take a line out from the effects send of each amp, mix them, then return to one of the amps. Both preamps playing through one power amp into one speaker. The other option is to record both amps into a pair of Torpedos, blend, then send to a third amp driving a speaker. (Or maybe just use a speaker IR.)
Mike hedges did this when recording the manic at preachers. He used 3 - clean, break up and dirty and combined them during mixing in various proportions
I use Reaper for quick scratch tracks and working out ideas, but I use Pro tools for all the heavy lifting on the final recordings. Also, Pro tools makes it's lightyears easier to send the mixing/mastering engineer if need be.
No engineer I’ve worked with actually wants PT sessions, chances are their routing system or plugins don’t match yours so they usually want wave files. So why work harder when you can use the daw that gets you results fastest?
I watched the documentary of Behemoth recording 'The Satanist' and they made a comment that you get some comb filtering recording two amps beside each other... but at that point it really doesn't matter because it just makes things sound more like you were actually standing in the room. Ever since that I just record multiple amps and cabs in my little room and I am pleased with the results.
Ingenious! 😆🤘 Very refreshing to see real amps, cabs and mics being used in the traditional fashion. I think amp emulation plugins are excellent tools for writing and tracking demos, but when it comes down to the Final Take, plug in to the Real Deal! 🔥🔥 (That's how I do it anyway!) 🤪
@@KohleAudioKult 😅 would be interested in how to run different ampsims on the same di track at the same time… is it comparable to a real dual amp setup?
Curious about Kohle Audio Kvlt.. do you have a course on the very basics of mixing and mastering on there that can help a bedroom musician like myself who mostly uses plugins and guitar pedals etc. without getting overwhelmed lol?
We have a mastering course with plugins only and we have quite a few “Mixing Rituals” where you can download multitracks, mix the song and watch the mixing tutorial of the original mixer. And there’s basic courses like “drum bus compression” or “EQing snares”. We’re constantly adding more content.
"Tight enough for a submitting a demo,....if not for a record." -- lol,...I mean,...how much tighter can you get? Love this method - some work to set up but the results. The cheapo Behringer mixer in the signal path -- very interesting.
An observation for a while now is that John found a gold mine in Adam and utilizes every pan and stream and gets the best out of Adam! Respect to Adam!
Apart from the principle of "get things right on the way in, rather than fixing it in post" - What differences are there (if any) between moving the mic position to achieve phase alignment V's slipping the track by a few milliseconds?
I have a mesa oversized cab from 2003. I have 2 of the v30s from that cab I kept. I have 2 dv77s 2 k100s. What should I load this cab with and what position top and bottom of cab should I put them in. I play mainly metal music. 7 string and 6 string drop tuned. Thanks. Your channel is awesome
Super Bock is very nice! Sabor autêntico! Man Marshall + Boogie is my favourite combination! Sometimes L + R mesa and just a track in the center with less disto using a Marshall!
As I understood from Kohle, 2 distorted guitar amps from the same di usually make a phasy mess. Anyone knows if there was anything else needed to prevent this, besides making sure the mics are the same distance?
Can't I just put a delay on one track to get proper phase allignement? That's what I did in the past when working with multiple mics. That way I can concentrate on getting the sound I want from a microphone first without thinking about phase and without having to go back and forth between control room and recording room. Or is there a drawback of that compared to adjusting the distance of the mic to the speaker like he did?
@@adamsteelproducer Okay, I didn't think about the summing you're doing with the Behringer mixer before the compression. In that case, it makes complete sense to me because you can't change the microphones' relation to one another anymore after that. Do you do the summing because of the compressor or is there another reason? If there wasn't an analogue compressor in the signal chain and you do the summing in the DAW, one could probably delay it there, right? I'm not advocating against setting up your microphones properly and then "fixing it in post". I'm just wondering about the tradeoff between adjusting the distance of the mic for the correlation's sake and getting the sound out of a microphone that you have in mind (which might need a different distance to the speaker than you'd need for a better phase correlation). I don't want to question your method but rather question the way I've been doing it. 🙃
@@adamsteelproducer thanks for your response. Any reason why you didn't use the Mimiq pedal before or after the split to save time with double tracking? Kohler had a great video which suggests Mimiq may be the way to go from now on.
The overdubs were using a mic splitter so we could get each channel separately for educational purposes, so we could show the sound of each separate mic. When we were recording the single, we didn’t do that and had nothing except a “mixed” track and a DI per side
@@adamsteelproducer Hi Adam. After you correct the phases and everything is ready, do you set all 4 mics to center to make all mono in the behringer? thank you so much
@@RenanBEreanSoundyes they’re all mono on the mixer, although if I wanted to I could pan them left and right to separate the two amps out- depends what you want your final result to be
I've got lost when he goes out from the beringer mixer to the compressors and into reaper because later on, we can see that he is recording 5 tracks (DI+4mics). Anyone can clarify?
I think when guitarists say they don't use compressors they mean on the pedal boeard. Amost all guitars are compressed when mixing. At least they should.
@@KohleAudioKult You don't compress the final mix? If i'm doing a less distorted guitar I'll add a bus compressor to the guitars. I will use less if it's a distorted guitar. But I always add a compressor to the entire song onced mixed. I guess whatever works and your music sounds great as is so I guess that works for you.
It’s so crazy that people have stopped doing this. When you’re playing the electric guitar you’re playing the amp just as much. Besides the tone of an amp, they’re also respond differently to your picking dynamics, how heavily you mute a string with your palm, how the strings sustain and ring out together. You lose all of that when re-amping.
@@louderthangod And playing with feedback, which also makes the performance so much more "alive" and "rock n roll". I can't remember so many examples in post 2000 era except Tom Warrior Gabriel Fisher.
You can record your DI at different points in the signal chain. Most people put the DI first, before even the boost pedal, but you could even put it in the amps effects loop. You'll capture a lot of the interaction between the guitar and the amp, whilst giving yourself a bit of an insurance policy against a bad cab tone or dodgy mic placement. If you've got a Torpedo, you can also record the output of the power amp as well.
Since when did “producers and guitar players not being good enough to get the sound right” become a thing that we just accepted? I 100% get beginners not being able to get it right so they send a di to the mix engineer to unfuck their tone. That’s fair. But this video speaks to a much larger group of people than that. Where they want the mix engineer to make production decisions. It is beyond frustrating to deal with as a mix engineer.
As part of the process. If all 3 are separate, player, producer, engineer, making sure the recorded tone is what the producer will accept, and what the player has in their head. As a player, it is really difficult coming to terms with the difference between in the room tone, recording tone, and live tone. As an engineer, capturing that special sound is difficult enough, but, making the correct adjustments for frequency responses. Having the mixer as part of the recording process makes things easier as far as getting it right at the source.
I have DI boxes (of course!) but in 20 years of recording bands in my parisian studio I think that I've almost never used them! My god! If a band is paying to come to a studio, just make it sound fantastic! Why mess around? Just record the best amp in the best way possible. Honestly, it takes a long time to dial in a great sound using VSTs and it never excites the musicians and drives them wild so why bother?
@@KohleAudioKult Good advice! Although it's absolutely incredible how damn rarely the DI tracks ever get used for anything. The DI tracks can help with guitar editing just as a visual aid because the transients stick out clearer. Apart from that, they just collect dust in the sessions!
It's all nice and dandy, but the engineer has listed a gear worth of close to like half a million dollars. Nobody has that kind of stuff and money laying around at home. Plus most of these are quite niche things, which are hard to come by. Even, if you were a millionaire, obtaining stuff like this would be a challenge. So it is more for educational and trivia purposes. You are not going to recreate something like this at home for sure. The reason why I love plugins is that they are very cheap compared to conventional gear. I love amps, cabinets and all the actual hardware and owned many of those. But even just a decent, mid level amp is around a thousand EUR/USD and that is not hi-end category at all. While a good plugin is 10 times less and it still sounds good enough.
Dammit! Is it really that hard to reproduce it in the digital domain? It sounds kinda superior to actual double tracking to my ears, at least for the role of a main rhythm guitar track. Actual double tracking still can play a role for accents and stuff. Hell, I want to do this.
Who's not afraid of blending amps, cabs and mics? 😇
ME. I've been doing this forever.. ;)
Last rig was 2 RK's ;)
Currently running:
SWITCHBONE V2
A - Lehle P-Split
CLEAN - is always my trusty JC ROLAND 120 H + JC 160
B - Tube Screamer Ibanez - Lehle P-split
GAIN - Mesa QUADpre with a decimator into Mesa Coliseum 300 amp + RK with a Mesa 5 band EQ and a decimator
Dial in the tone on each amp individually, then run them simultaneously with independent volume pedals to blend.
2 Mesa half back 4x12's
1 Mesa armor plated OS 4x12
1 Diezel 2x12 FL
1 Mesa 2 x 12 recto
1 Mesa 1x12 Theile 200 w EVM
Add in a 2notes .. CAB M for a direct signal with some Killer IR blends
Pure Tonal Bliss
Cheers, Amigo.
Gran Hechicero I think does this he is the bomb! you ever heard him!
Ive always blended Marshalls and Mesa.. & by any means u use a TC mimic and reverb, it produces the sound of God
amps yes - cabs no
@@SQstudios_ What I wanna hear!
Thanks so much for making the video! Putting the course together was a labor of love and I appreciate you 😊
🤘🖤🍺
This was thoroughly enjoyable. Thank you. Purchased the course to get more insight. Lots of cool stuff in there.
Took it upon myself to simulate the whole signal path “in the box”, using Reaper. Was certainly a brain exercise. 😂😂
Kinda wild that I've been doing something similar with JCM 800 and a 5150 (plug-ins anyway) and I accidentally got something pretty close to Bolt Thrower's Those Once Loyal tone. Really cool to see the pros doing something that I thought was just me goofing around with weird ideas.
The band I work for always run two amps live. They both use duel recs and the second amp is a Marshall 1987x and a REVV 120. What a sound!
Having John browne as a guitar player helps a fuck ton too lol...
That might be true! 😜 He’s great!
Heck yeah this is how I record guitars! I use a POWERED aby going into 2 amps, 2 cabs and usually ribbon and dynamic on each cab. (Different speakers of course)
Love this approach do much.
Combination of the Vintage 30s and the G12H Anniversary delivers a KILLER result! Which I do with my Marshall g12 vintages in 4:12 cab- 2x2 X pattern
Just getting that phase aligned is the biggest takeaway. I like that he uses Reaper. Pretty cool. I'm going to try and see how it visually holds up Logic. To anyone trying to get that 'sound' though..good luck, John Browne is a fucking beast of a player. This is a really cool approach, but It's his playing style and the riffs he writes that shines. Thanks for sharing this guys, especially with those of us who haven't yet drank the Kult Kool-aid. ;) 🤘
You’re welcome!
And of course it’s always helpful to have a great sounding player!
RE: phase alignment .. this works for me.
Radial Switchbone V2 + Lehle P split ..
I’ve been using several amps for the past year in plug-in format. It’s really great when done with several IRs too
I read somewhere that Adam Jones from Tool would send his guitar signal out through 3 different amps & cabs simultaneously to get such huge guitar tones on his last couple records.
He does that live mainly, in the studio he mixes all types of amps, sunn beta lead, diezel, marshalls, riviera
You could skip the phase alignment issues in a couple of ways.
You could take a line out from the effects send of each amp, mix them, then return to one of the amps. Both preamps playing through one power amp into one speaker.
The other option is to record both amps into a pair of Torpedos, blend, then send to a third amp driving a speaker. (Or maybe just use a speaker IR.)
Mike hedges did this when recording the manic at preachers. He used 3 - clean, break up and dirty and combined them during mixing in various proportions
The blend sounds killer and the immediate response from the tube amps is something we need in the plugins too. 🙏
Deadweald Audio! It’s great seeing the Golem. Great Gate!!!
DAE also has 1 of the best ODs out there-the Duality DX
I use Reaper for quick scratch tracks and working out ideas, but I use Pro tools for all the heavy lifting on the final recordings. Also, Pro tools makes it's lightyears easier to send the mixing/mastering engineer if need be.
No engineer I’ve worked with actually wants PT sessions, chances are their routing system or plugins don’t match yours so they usually want wave files. So why work harder when you can use the daw that gets you results fastest?
I watched the documentary of Behemoth recording 'The Satanist' and they made a comment that you get some comb filtering recording two amps beside each other... but at that point it really doesn't matter because it just makes things sound more like you were actually standing in the room. Ever since that I just record multiple amps and cabs in my little room and I am pleased with the results.
This was fun to watch, thanks. Them guys are Innovative masters
Biamped bass is fantastic, parallel guitar sounds are yummy. More is usually better when it comes to amps
Status Quo always had their guitars going into a Vox and a Marshall together in boxes off stage and used a third line an amp modeller.
Tue Madsen also used this kind of setup in mixing Meshuggah "The Violent Sleep Of Reason". Sounds great!
One of the sickest guitars tones I've recently heard. I will purchase the course :)
Super Bock shirt! Nice! 🤘🏻
Very good theme.This combination used LINKIN PARK in METEORA FROM 2003 !🤘🏻🤘🏻🤘🏻🇪🇦
Ingenious! 😆🤘 Very refreshing to see real amps, cabs and mics being used in the traditional fashion. I think amp emulation plugins are excellent tools for writing and tracking demos, but when it comes down to the Final Take, plug in to the Real Deal! 🔥🔥 (That's how I do it anyway!) 🤪
Great shirt!
0:35 I’ve heard of a band that already did that… was called the Beedles or so
Many people have done that.
It’s just pretty difficult in a modern high gain context without running into severe phase problems.
@@KohleAudioKult 😅 would be interested in how to run different ampsims on the same di track at the same time… is it comparable to a real dual amp setup?
Curious about Kohle Audio Kvlt.. do you have a course on the very basics of mixing and mastering on there that can help a bedroom musician like myself who mostly uses plugins and guitar pedals etc. without getting overwhelmed lol?
We have a mastering course with plugins only and we have quite a few “Mixing Rituals” where you can download multitracks, mix the song and watch the mixing tutorial of the original mixer.
And there’s basic courses like “drum bus compression” or “EQing snares”.
We’re constantly adding more content.
This was really cool! Keep sharing awesome information like this, please!
We do this all the time!
Best way to get more in depth content is to join Kohle Audio Kult! 😜
Very cool video. Golem #deadwealdaudio and Dirty Tree #peperspedals so cool to see them used with a great band.
I love videos about Tone and especially when it involves john browne, Great Video well done!!!
Super Bock auf deine Videos. As much as I love a gnarly chainsaw, the dirty tree is hands down the best boost out there. Love to see it.
Amazing video ! Thanks you so much.
That t-shirt is awesome. 🍺
"Tight enough for a submitting a demo,....if not for a record." -- lol,...I mean,...how much tighter can you get? Love this method - some work to set up but the results. The cheapo Behringer mixer in the signal path -- very interesting.
Oh man, beautiful shirt you have there!!🤘💀🤘 Prost🍻
An observation for a while now is that John found a gold mine in Adam and utilizes every pan and stream and gets the best out of Adam! Respect to Adam!
They’re a good team for sure!
Apart from the principle of "get things right on the way in, rather than fixing it in post" - What differences are there (if any) between moving the mic position to achieve phase alignment V's slipping the track by a few milliseconds?
You can’t slip the track when blending in analog.
@@adamsteelproducer Gotcha, thanks 👍
You guys are the best!
Btw, love your T-Shirt, Adam!
10:20 time alignment awesomeness
Jon Browne doesn't even need real amps, he made Pod XT sound extremely good.
Whoa, check that great distance micing.
why does it make sense getting phase right at the beginning? isnt it the same result to do it later in your daw?
Not if you sum in analog like Adam!
I have a mesa oversized cab from 2003. I have 2 of the v30s from that cab I kept. I have 2 dv77s 2 k100s. What should I load this cab with and what position top and bottom of cab should I put them in. I play mainly metal music. 7 string and 6 string drop tuned. Thanks. Your channel is awesome
I’d go for the DV77s.
So v30 and dv77 mixed together in a x pattern?
When mixing speakers I prefer x pattern
DUUUUUDE!!! Portuguese Beer shirt! Awesome
Just spent a week filming a mixing course in a studio in Porto!
@@KohleAudioKult makes sense, Super Bock is the Porto beer, if you were in Lisbon it would be Sagres 😂
Can’t wait to see what came out of that week.
Super Bock is very nice! Sabor autêntico! Man Marshall + Boogie is my favourite combination! Sometimes L + R mesa and just a track in the center with less disto using a Marshall!
I just spent a super(bock) week in Porto! 🤪
@@KohleAudioKult and you spent it very well. Super Bock + Metal. Best combo 😁
As I understood from Kohle, 2 distorted guitar amps from the same di usually make a phasy mess. Anyone knows if there was anything else needed to prevent this, besides making sure the mics are the same distance?
Dirty Tree FTW 😺
Can't I just put a delay on one track to get proper phase allignement? That's what I did in the past when working with multiple mics. That way I can concentrate on getting the sound I want from a microphone first without thinking about phase and without having to go back and forth between control room and recording room. Or is there a drawback of that compared to adjusting the distance of the mic to the speaker like he did?
You can’t do that in analog. There’s more to it that you don’t see in this video but getting it right at the source is always the best way
@@adamsteelproducer Okay, I didn't think about the summing you're doing with the Behringer mixer before the compression. In that case, it makes complete sense to me because you can't change the microphones' relation to one another anymore after that. Do you do the summing because of the compressor or is there another reason?
If there wasn't an analogue compressor in the signal chain and you do the summing in the DAW, one could probably delay it there, right? I'm not advocating against setting up your microphones properly and then "fixing it in post". I'm just wondering about the tradeoff between adjusting the distance of the mic for the correlation's sake and getting the sound out of a microphone that you have in mind (which might need a different distance to the speaker than you'd need for a better phase correlation). I don't want to question your method but rather question the way I've been doing it. 🙃
Was there any double tracking done here? If no, was the Mimiq pedal used?
Double tracking yes. But all the mics were folded down into a single “take”
@@adamsteelproducer thanks for your response. Any reason why you didn't use the Mimiq pedal before or after the split to save time with double tracking? Kohler had a great video which suggests Mimiq may be the way to go from now on.
Browne you beast!
Make me feel like when meshuggah recorded the violent sleep of reason ahahah good stuff !
I’d like to see you do a video on recording real amps at low volumes. Or ISO cabs! (Which I’m sure is gonna sound like crap too lol)
Nice!!!!!!
I didn't know Matt Hardy was so good at guitar
DELETE!
😂
he described 4 mics, on 2 amps, i assume for each take, but his overdub was recording onto 6 tracks. so what was getting recorded?
The overdubs were using a mic splitter so we could get each channel separately for educational purposes, so we could show the sound of each separate mic. When we were recording the single, we didn’t do that and had nothing except a “mixed” track and a DI per side
@@adamsteelproducer Hi Adam. After you correct the phases and everything is ready, do you set all 4 mics to center to make all mono in the behringer? thank you so much
@@RenanBEreanSoundyes they’re all mono on the mixer, although if I wanted to I could pan them left and right to separate the two amps out- depends what you want your final result to be
@@adamsteelproducerThanks Adam! Amazing work you guys do
It a great idea to have a good beer and listen to metal
I fully agree!
I've got lost when he goes out from the beringer mixer to the compressors and into reaper because later on, we can see that he is recording 5 tracks (DI+4mics). Anyone can clarify?
There’s a lot of the course not in this video. The last part uses mic splitters so you can compare with files that are included in the course.
And it’s 6 channels at the end. 4 mics, DI, blended tone
Super Bock?
I see you've been to Portugal.
Just filmed a nice mixing course for Kohle Audio Kult in Porto.
@@KohleAudioKult Nice!
"The most sexy and evil recording, mixing and mastering academy" Specially sexy... hahaha you're totally right, brotha! Cheers!
🤘🖤
i used this method for a long time, but with vst 😂
I think when guitarists say they don't use compressors they mean on the pedal boeard. Amost all guitars are compressed when mixing. At least they should.
I’m actually one of the guys that never compress guitars in post! 🤩
Enough volume and fuzz is my compression!
@@KohleAudioKult You don't compress the final mix? If i'm doing a less distorted guitar I'll add a bus compressor to the guitars. I will use less if it's a distorted guitar. But I always add a compressor to the entire song onced mixed. I guess whatever works and your music sounds great as is so I guess that works for you.
I was talking about compressing guitars!
@@HenritheHorse Hey if it works do it I always say. haaa
I see Monuments I click "like" in trust 😂
Haha! Good choice
Alice in Chains blended guitar amps on Dirt. Really cool idea
Super Bock rules..
A band that recorded using real amps... it feels weird to call that the outlier... 🤣😊
It’s so crazy that people have stopped doing this. When you’re playing the electric guitar you’re playing the amp just as much. Besides the tone of an amp, they’re also respond differently to your picking dynamics, how heavily you mute a string with your palm, how the strings sustain and ring out together. You lose all of that when re-amping.
@@louderthangod And playing with feedback, which also makes the performance so much more "alive" and "rock n roll". I can't remember so many examples in post 2000 era except Tom Warrior Gabriel Fisher.
I also still believe that playing the actual, final tone helps! But that might be just me.
Right? Considering most 'metal' these days sounds like EDM.
You can record your DI at different points in the signal chain. Most people put the DI first, before even the boost pedal, but you could even put it in the amps effects loop. You'll capture a lot of the interaction between the guitar and the amp, whilst giving yourself a bit of an insurance policy against a bad cab tone or dodgy mic placement.
If you've got a Torpedo, you can also record the output of the power amp as well.
Since when did “producers and guitar players not being good enough to get the sound right” become a thing that we just accepted? I 100% get beginners not being able to get it right so they send a di to the mix engineer to unfuck their tone. That’s fair. But this video speaks to a much larger group of people than that. Where they want the mix engineer to make production decisions.
It is beyond frustrating to deal with as a mix engineer.
As part of the process. If all 3 are separate, player, producer, engineer, making sure the recorded tone is what the producer will accept, and what the player has in their head. As a player, it is really difficult coming to terms with the difference between in the room tone, recording tone, and live tone. As an engineer, capturing that special sound is difficult enough, but, making the correct adjustments for frequency responses. Having the mixer as part of the recording process makes things easier as far as getting it right at the source.
I have DI boxes (of course!) but in 20 years of recording bands in my parisian studio I think that I've almost never used them! My god! If a band is paying to come to a studio, just make it sound fantastic! Why mess around? Just record the best amp in the best way possible. Honestly, it takes a long time to dial in a great sound using VSTs and it never excites the musicians and drives them wild so why bother?
DI boxes can be useful even when you track with real amps. Either as a backup or as a blend. Either way, it’s smart to record a DI track!
@@KohleAudioKult Good advice! Although it's absolutely incredible how damn rarely the DI tracks ever get used for anything. The DI tracks can help with guitar editing just as a visual aid because the transients stick out clearer. Apart from that, they just collect dust in the sessions!
Adam needed a dyna mount for this job
I’ve got one! Not got three though…
I got two! I win! 😂
This guy taught me reaper 😅😅
Yes, that’s him!
Especially for today...
Im ao tired of amp plugins 😔
It's too bad the guitars ended up being pretty muddy in the mix.
Instructions unclear lost my tone in the dryer.
Where do engineers get the money for this stuff? I thought the music industry dried up…
It's all nice and dandy, but the engineer has listed a gear worth of close to like half a million dollars. Nobody has that kind of stuff and money laying around at home. Plus most of these are quite niche things, which are hard to come by. Even, if you were a millionaire, obtaining stuff like this would be a challenge.
So it is more for educational and trivia purposes. You are not going to recreate something like this at home for sure.
The reason why I love plugins is that they are very cheap compared to conventional gear. I love amps, cabinets and all the actual hardware and owned many of those.
But even just a decent, mid level amp is around a thousand EUR/USD and that is not hi-end category at all. While a good plugin is 10 times less and it still sounds good enough.
lol the behringer mixer. $12000 of equipment to get the best possible tone…..into an $80 mixer.
Dammit! Is it really that hard to reproduce it in the digital domain? It sounds kinda superior to actual double tracking to my ears, at least for the role of a main rhythm guitar track. Actual double tracking still can play a role for accents and stuff. Hell, I want to do this.
3:42 Then amp 1 has the dagadaga daga da dagadada thing. And amp 2 has the ROH RWOH RWOH RWOH - Couldn't have said it better myself 🤌
Oh my God, they ACTUALLY got their sounds going in? No freakin' way.
😅😅😅😅😅