Appreciate the effort (and the expense) you go to Mick - not an ounce of it is wasted. Pedal tones come and go but every show consistently sounds absolutely superb.
I’m a professional recording engineer, I have been working on records for the past 12 years and I’m very disappointed at HOW GOOD TPS sounds! Especially recorded by “someone who’s never produced a record” 😂😂😂 The only suggestion I have to your method is to send the Mid and Side(s) tracks to a bus and then put a 1073 plugin on the bus rather than using 3 different instances. Might make adjustments simpler. Keep up the good work!
Only very recently got my head round using busses for effects in Logic - such a help with housekeeping and processing power - thanks for the reminder :)
TIP 4 Mick: Create a group (think bus on a mixing desk) for your mid-side tracks (a 'track stack' in Logic). Select the three tracks and "Track > Create Track Stack". Add Logic's Gain plugin in to one of the side channels and flip the phase with that, then put your Neve-clone on the group. This'll allow you to control the EQ and gain of the mid-side setup as a single entity. You could group each of the two amp mic setups as well, and the vocal pair. Automating the volume on the group channel will save on tedious copy-pasting and fader tweaking. Creating a pre-grouped recording template will save you more time still. Many U-tubz on this - many, many U-tubz. Then again, if what you do works for you then, well, it works. Whatevers. Love the show, keep 'em coming. 🎸
I tasty insight just a *little* bit of the work that goes into producing That Pedal Show episodes each and every week, that us mere mortals get to enjoy for free. Coming from an old audio engineering background I can appreciate all the work that goes into putting out a package where the audio is ALL important for us consumers and is why I like to support on Patreon as best I can. Cheers guys.
The new room is really quite nice. The technical setup is great - direct - utilitarian - and completely perfect for what you're doing. Mick you have more engineering skills than you give yourself credit for - but thats the humble part of your personality that shines and helps make the show so appealing. The real heart of the show is Mick and Dan, their knowledge, personalities and your amazing CHIT CHATTERY (is this a thing?). You guys make us feel like we could all meet at the pub, have a beer and hit it off famously while noodling on a bunch of guitars. And you guys make that part look easy - and that's the hardest part of all. Cheers, lifting my mug and wishing you continuing success!
Hello Mick it Chad. I just wanted to say that this is an outstanding video. SIMPLY OUTSTANDING. I am so glad you did a video of this. This helps explain so much for me, in turns of mic’ing. Please do more of these as time goes on. I think others will benefit from this as well.
You really work very hard on all this. It's nice to see behind the scenes how much is involved in producing this show. The quality of the show and audio is stellar and unparalleled. Your hard work shows and is greatly appreciated by all of us. TPS is by far my favorite program, I watch religiously. Really glad you guys are out there and doing this.
Just rewatched That Pedal Show - Pedal Order Basics: What Goes Where & Why? Your newer episodes do indeed sound better and that is saying something since the older episodes sounded fantastic. Way to go.
What a fantastic insight. The effort that goes into the creation of a TPS episode is incredible. I just don’t understand how people can leave negative comments here. Long time fan here. Keep it up guys.
Thanks for posting this up. The slight tweaking of the signal via mic pre’s and EQ is the most interesting part of it for me . Finding a balance of what you remember the audio source sounding like with what the microphones pick up is at least 60% art rather than science is what I’m learning. And it’s different every time. ‘Tis a journey as the cliche goes.
Wow, it's amazing to see how you "make the proverbial sausage"! TPS has always been second to none, when it comes to high quality, realistic in the room sound. Gotta love it. As long as y'all keep putting out great content, I'll keep watching. Thanks and keep up the great work
Thanks for the Mid/Side explanation. Gonna use this for recording an acoustic set. I look forward to watching the show every week, one of the highlights of my day!
Killer overview man congrats.....no training eh? The pan shot made me realise you have $100-200k+ easy just in gear (what if you paid a production team!!) insanely well managed obviously. As for the sound I've been on network TV live sets with lesser quality gear and "qualified" sound engineers who couldn't deliver a mix as well as you do. Love the UAD plugin too. We are very lucky to get such great sound from TPS for free!!!! (I'm off to buy another t-shirt ;-)
Mick, what a fine job of audio production my friend. I did my minor in audio production in college and I think I learned a thing or two from you just now. Keep up the great work my friend.
Mick - Very interesting. We appreciate your OCD efforts every week on sound quality. You consistently deliver sound quality that allows listeners to discern small tone differences in the guitars, amps and pedals. The Strymon Volante episode was particularly inspiring.
I went and did audio engineering courses in the 80's and still don't know bugger all really. I have recorded many bands (small unknowns with one exception) and mixed in studio's for bands recorded releases onto vinyl and cd back in the day. Self taught myself mostly and what I hear on TPS is great quality and well produced in the main. Well done Mick and Simon I say.
I've been super curious about the behind the scenes technical elements of capturing all those fantastic tones you guys create, so thank you for taking the time to put this out there for us.
I love this Behind The Scenes Chapters! When I do an M / S I adjust it just the other way around ... First I put the mic in the mid where I want and then I go up the side mics little by little until I get the space on the sides that I like. In any case I am also self-taught in these things. A greeting! Great work!
Thanks Mick, really interesting to see your process, as a self taught engineer there’s always so much to learn. Great to also see the hard work you put into your productions. Love to see more 👍
great content Mick. good to see on the other side of the glass! straight-forward presentation of how awesome M/S mic'ing can be to overall sound quality. And don't sell yourself short as an audio guy. TPS always sounds great and I listen on high quality headphones and earn a living doing live sound.
Mid/Side mics on an acoustic is magic. Love seeing how the sausage is made! Great video! I was waiting for you to flip the phase on the fig-8 mic... finally did but I had already typed a stern scathing rebuke!!!
Hey Mick, when I’ve done M/S before I’ve used an aux to send the side mic to and flipped the phase on it. Just helps with any templates as they’re ready to go. Sound on these videos is absolutely fantastic by the way, really love what you guys do.
Good recommendation as the Beyerdynamic headphones are fantastic - I was a bit sceptical about spending that sort of money vs say AKG 240 mkii as for my purposes it's not critical to have something ultra accurate; but they are so nice to wear, stay comfortable for long periods and solidly built, they completely justify themselves.
A note on mid-side for those who don't know. Mid-side is an old broadcasting technique. Analog broadcasting puts an L+R audio signal on one band, and an L-R signal on the other. This allows backwards compatibility to the older mono systems. This is exactly what the mid-side configuration gives you without having to do any processing. The forward facing mic gives the L+R and the figure-eight pointed sideways gives the L-R (or R-L depending on the orientation of the mic). That's why reversing the phase gives you the strong stereo image. It does give good control, as Mick demonstrated. Another technique is the Decca array, used by the label of the same name, mostly for recording orchestras. That's three omni mics placed in an equilateral triangle about a meter apart hung above the director's head.
Apart from you being an audio expert (like I am, recording / mixing / producing records for 20 years now), let me just say I really appreciate the effort, and I mean the hours both of you put into TPS. In times where everything is taken for granted (as its free) all I can say is: No, its not. You need someone with vision, the will and focus and determination to make as good as possible. Danke schön. :-) BTW - Ducktailing on Al Larson's tip on workflow improvements. Waves Vocal Rider might be a great time saving tool for Dans and your vocal mics.
Thank you! I've tried vocal rider and the side chain trick. Albeit once and quickly and it does weird things on the in and out, especially with reverb tails. Cheers!
Attn: EVERYONE. You need to be listening to this in stereo. If you're listening to this through your mono phone speaker you will not be able to hear the midside technique properly. Pop a pair of headphones on.
Fascinating, Mick. Thanks for doing this. I gotta tell you though, if you guys don't get better stools to sit on, you're both going to be getting Preparation H in your stockings for Christmas in a year or two. Love and shwang from North Carolina!
Half way through the video here. Lots of enquiries popin' out. That Pedal "Academy" has helped me a lot to improve the approach on the instrument. In a professional manner definitely. But as you guys are seasoned musicians and are rehearsing and giging on regular basis, could you guys bring content on a full band scenario? Things like leveling voice/guitar/drums, P.A. set up (power, number, position), tips, quirks, and advices on how to yield on rehearsing. Cheers from a very demanding but grateful viewer.
Hey Mick! =) First of all, congratulations for bringing superb sound to our ears for so many years! It takes too much time, effort and patience. I hope now everyone understands the procedure and show some respect to your effort, by listening TPS through a decent pair of headphones. By the way, I've always loved the stereo image of mid/side technique, even when applied 20cm from amp's grill cloth. Speaking of headphones, I would like to make a suggestion, in case you haven't tried it yet. There is a plugin, from a company called SonarWorks (I have nothing to do with it, just a satisfied customer), that calibrates your headphones to flat frequency response. That way you can avoid any colorization that every pair of monitor headphones have. It costs money, I know, but they offer a trial period before buying. That's an always on plugin for me. Give it a try if you are interested. =)
Flipping that phase (polarity?) on the SideL / SideR was amazing! You're being too modest when you say your head doesn't deal well with technical details.
Something I would love to see on your channel is a video about affordable amps with expensive mics VS expensive amps with affordable mics. For people starting out in home recording, we often do not know where to invest in our studio. Should I get a hand wired amp and work with an SM57, or should I get a Deluxe Reverb and buy a U87? I know that quality of the preamp/audio interface plays a major role too, but for the sake of guitar related content, a mic shootout would be cool! Cheers
Hey Mick. great VLOG! Comment: I edit interviews everyday for work, and I think one thing that might speed up your workflow is Side-chaining an Amp Mic to a gate on the vocal mics, so that when the AMP gets loud, it will mute or drop the Vox mics. The visual aid of the blown out Vocal Mics probably makes it pretty ez to edit out, but Side-chaining would speed up you process--maybe. I always end up tweaking it a bit, and if it ain't broke don't fix it, so, fwiw. I can totally appreciate the amount of work it takes to produce a quality show, and TPS is great! Thank you to you, Dan, and Simon for giving out sonic joy. Mime is money!
Thanks Jeff. Tried it back along and was getting some issues with reverb trails especially and weird stuff happening. Maybe I'll try again and watch some YT vids. I think there'll be too much manual fixing to do, but always up for time saving!
One thing that I've hear commonly in your audio mix is the acoustic sound of the guitars which is being picked up by those room mics. This can be heard from time to time as that pick sound when the guitars are strummed or hit hard. Obviously this is somewhat realistic as if you were in the room you would be hearing the acoustic sound of the guitars anyway. However from where you're sitting in front of the amps the ratio of this acoustic sound vs the amp sound would be much lower. With the room mics setup as they are you sometimes get a distracting transient from time to time that isn't coming from the amps, it's coming acoustically from the guitars. I've noticed this from time to time over the years of watching your show (which I love and watch religiously!) If I was in your situation I would be feeding the amp mics to a room reverb to negate the acoustic sound of the guitars in the room. This would recreate the situation where you have a guitarist in the 'control room' and the amps/cabs in another room which is quite common in a recording setup. I do this all the time with my mic'ed up guitars cabs which are in another room to my control room. I use the UAD Ocean Way Rooms plugin fed from the amp mics via an aux send in the UAD Console and print the output of that to a separate track (you could also do this in post production). This way you have infinite control over the room sound and it will never have any of the acoustic pick sound in it. It's fine as it is, but it's something I've always noticed and thought I'd bring it up. If you have the Ocean Way Rooms plugin it's definitely worth a try. (I understand that then we'd be hearing a room that you're not in though) Another alternative and something that I do when the guitarist is in the room with the mic'ed up cabs in the studio is to use a dual cardioid stereo mic setup (A/B or ORTF) and point them to the back of the room. This way you cancel out the direct sound (and the acoustic pick attack from the guitar) and you capture mostly just the room sound. You could also keep the M/S setup, bring it into the centre of the room and face your M mic to the back of the room. Just a though, probably not a huge deal though.
@@ThatPedalShow Haha I am ridiculously picky! It's only very slight and probably happens 1% of the time! Actually a really great sound is an unplugged 335 mic'ed up close with a condenser as a layer in a track!
This is an awesome video and tour - thank you! Have you guys ever considered using some of the great gear in your inventory to make profiles for the Kemper Profiler? Keep it up guys, love watching!
Very interesting vid Mick and great to see behind the scenes for the production of the show. I can recommend the 'Pinpoint' Mac app for screen recordings - shows where the mouse arrow is which can be helpful for the audience.
Great use of M/S! I also find it useful when recording acoustic Gs when they'll be alone with just a voice in a mix to give a sense of width while keeping the main centre sound focused and clear. Also then nice to take the reverb feed from the S signals rather than the M one. Gets a bit of space into an otherwise mono-sounding mix.
I’m in college for sound recording and when going over the mid-side micing technique our professor told us for the side mic you need to to use a matrix to split the signal for the side mic to get a true stereo left and right. But I can’t remover off the top of my head if the matrix is doing the same thing as you did with the tracks or not. Anyways who cares! It sounds great and I’m definitely going to experiment with this more in recordings
Just as a bit more info on the “point” of mid-side miking. The reason the technique was developed and most of the reason we use it in the studio is because it provides an extremely clean way to avoid any phase problems when played back in a mono environment. Other stereo micing techniques can cause partial phase problems when summed to mono depending on where the two mics are placed in the room and can also feel like there is a hole in the “center” of the image. With mid-side, your left and right “sides” are the exact same signal 180º out of phase from each other, so when summed to mono they completely disappear and you are left with only the center mic giving you a perfect mono signal. I have often recorded acoustic guitar in this manner on a track where it is just an acoustic and vocal. The mid-side micing on the acoustic can give the sense of a “stereo” mix which is a bit more interesting, but you still have that center mic giving you a direct sound of the guitar strait on, and when listening back in mono you simply lose the stereo “effect” without the mix sounding compromised.
You should check out extinct audio bm9 ribbon mics! They’re UK based and sound pretty darn good! Also, the Neumann iPhone app lets you accurately visualize the stereo image you want to record and shows you how to position your mics regarding angles and width etc. Good work Mick!
Hi Mick, any chance you could release backing tracks of the tunes you and Dan wrote for the UA sessions? Since you explained the chords in VCQs on Monday I've been learning 'All of Me' and would love a crack at the solo. Gonna start learning Dan's next :)
Very nice to see how your setup has evolved! Two things you might find useful: - Have you tried/heard about the Auto-Align plugin by Sound Radix? Might be super useful for you to help you set your mics perfectly in phase. - I think you should try the G12 mic by Tul Microphones from South Africa. Not crazy expensive at all, dynamic mics made for electric guitars, and use by Joe Bonamassa on stage on all his amps. Never tried it myself, but I aim to do it soon, and it's apparently very good. Have a nice day!
I'd look into using either mix/edit groups for your guitar mics or bussing them so save the multiple clicks of mute/solo etc...not a game change but makes working easier.
You're flipping polarity, not phase. I bring this up because the need to adjust the phase relationship of two mics is a wildly different issue and it seems this might be confusing some folks. Flipping the polarity keeps both tracks in time alignment with one another, but inverts one with respect to the other -- where one wave was up, the other is now down. Across the entire waveform, at all frequencies. Polarity is either positive or negative, there's no grey-scale between the two. i.e., the only thing you can do is "flip it". Other instances where this kind of trickery can be useful: (1) when you mic the front and back of an open-back guitar cab. The front mic is picking up the forward pressure wave of the speaker and the rear mic is picking up the rear pressure wave and to get them to be additive in the mix rather than to be canceling one another, you need to flip the polarity of the signal generated by one of the mics. Similarly when mic'ing a snare drum on top and bottom. A "phase inverter" stage of a guitar amp is more accurately called a "polarity inverter" stage because it is flipping the polarity of one signal so that the signals can combine together in a push-pull configuration. Certain two-amp setups require the polarity of one amp to be flipped because certain gain stages in certain amps cause the polarity of the input signal to be flipped and thus two different amps may be outputting the same input signal in opposite polarity which sounds weird. One also needs to worry about the "phase" or "time alignment" when using two microphones on the same source, like when using two mics on a guitar cab. This is different than polarity. Here, if one mic is further from the source than the other, the signal you record with that mic is effectively going to be shifted further along the time axis relative to the closer mic. If the signal you were recording were a simple sine wave, and you moved one mic to be some multiple of 1/2 the wavelength of the sine wave, this would look exactly like "flipping the polarity" because where one signal is up, the other will be down and vice-versa. The two signals can also be said to be 180 degrees out of phase WITH RESPECT TO THE RECORDED FREQUENCY. But a guitar signal is not a simple sine wave. Even for a held note, there are all sorts of frequencies contained within that signal, each frequency having its own wavelength. So as the signal is moved on the time axis, there will be ONLY ONE FREQUENCY COMPONENT of the signal that is 180 degrees out of phase. All other frequencies will be out of phase to a different degree depending on the wavelength of that frequency relative to the amount of time misalignment of the two signals. That is to say, you can't just push a "flip the phase" button to fix this problem. You can try to flip the polarity of the two signals and you will likely find one configuration to sound better than the other, but both to still have a "phase-y" sound quality. You can attempt to use a plugin that can properly time align the two recorded tracks. Better to get the mics properly aligned at the source. All of this is to say, for the third time, as politely as I can muster via an anonymous post on the internet, use polarity when you mean polarity and phase when you mean phase :) Cheers.
Yeah, this has bugged me too. Especially when they already talk about (say) overdrives with asymmetrical clipping, so there's no way in hell you can have a phase transformation on that wave have the same effect as a polarity inversion.
Good luck in getting the entire audio industry to stop using the phi symbol for 180° phase reverse ... ooops polarity. Question - if 180° polarity reversal is Not phase reversal then why do two identical waveforms, whatever their shape, cancel out when mixed if one is reversed ? And cancel they most certainly Do however complex they're composition. Nitpicking of the highest/lowest (dependant on polarity) order IMO. End of grumpy breakfast time rant ...
It just goes to show that you can't reverse backwards. Would a better expression of this 180*D / reverse polarity... Be in an opposite polarity? Hmm? Grrr ! English can be so vague! LOL Do we need a legal team to it workout? (Just saying).
@@KozmykJ yeah, I'm not expecting the audio industry to change. I brought it up because I was confused about why you would adjust phase of an amp relative to another in anyway and then remembered "oh, right, he's actually talking about flipping polarity". Signals that are identical but-for their polarity will always cancel. For real-world signals more complex than a simple sine wave, phase shifting will cause cancellation at some frequencies and reinforcement at others - comb filtering. The important point is that phase is always a time-based phenomenon, and for folks that think that way (say, people that learned about this in physics more so than electronics) it makes it hard to understand why you want to adjust the phase of one amp relative to another in a two-amp rig - which you don't, you might need to invert the polarity of one with respect to the other. Polarity is not a time-based effect, its taking what was positive and making it negative and vice versa. Two sine waves where one has had its polarity inverted are NOT technically "out of phase" with one another unless one has been shifted on the time line. two sine waves that are 180 degrees out of phase with one another at the frequency of the sine wave cancel precisely BECAUSE with such a simple signal is polar-inverted when phase shifted a specific degree...but this only occurs with very simple signals.
I'm amazed you manually mix the mics! I'm sure you get great control that way, but there's gotta be an easier way to sidechain duck the vocal mics when the amp mics are getting signal. might be time saving to explore!
For me the part that I felt was something I didn't expect was when you said the dual diaphragm mic was mono. I was thinking it was a stereo dual diaphragm mic.
Awesome overview Mick! While you may not consider yourself an 'expert' you certainly know what sounds good and that's all that matters isn't it? One thing that helped me a lot with my mixes was using high pass filters. I know you used them at some points on the 1081s but you might want to try high passing at 50 (or even 80, but that may be a bit too much) to remove sub bass information on the cab mics that isn't audible such as low oscillations or rumble. Obviously you don't want to make anything thin so try clicking the HP in until you hear a difference (probably 80hz) then click it back one (probably 50hz). That'll remove all the inaudible crap that eats up headroom in the mix. What you should find is that everything is somehow a little cleaner and clearer... just a little, as everything sounds for bloody stellar anyway but every little helps right? On the Mic front I'd love to hear a ribbon in the mix, especially a 121. Royer makes a less expensive passive ribbon called the R-10 if budget is an issue. Fantastic Vlog! :)
I spend my life recording guitars - have never found a 'better' mic for amps than the sE RNR1 Active Ribbon.....honestly sounds exactly like the amp does in the room once it's placed correctly. Lemme know if you'd like to borrow it for a bit!
Hey Mick, thanks for a great VLOG. Just wanted to add a suggestion regarding MS tehnique, hope you find it useful. Maybe you could get more accurate result if you first sum the three audio channels of a MS recording (with levels set at your taste) without any plugins to a stereo group and only then add a stereo EQ plugin to the group. Don't want to be boring with the endless audio theories, but adding EQ plugins with different settings to each MS channel could spoil the initial phase correlation between the channels and degrade the initial sound of a recording in terms of frequency response. Of course it is not crucial for overall sound of my favorite TPS, but since you put so much effort to every detail, this might give you that 1 or 2 percent of a bonus quality, and that's what this is all about, isn't it? All the best, guys!
Hey, thank you for doing this. I learn from your good work and I appreciate it. Keeping in mind how you mention how time is precious, is there any benefit to posting UK/Aus/US gear links for this episode? Thank you!
Hi Mick, I'm looking for mics for my first digital home recording set-up. I was considering the e906 for the amps/combos - I like the flat and space-saving 'hang it over the front' design. However, I noted your comment that it can sound harsh. Is there anything you'd recommend that's a similar, affordable price?
Hey Mick, you should experiment with ORTF and Bulmlein Pair if you get chance. Also, check out Schoeps mics for ambient miking - definitely a huge step up from the 414’s. Also did you look into the lower cost Royer the R10? Would be interesting if you could get one and demo - in fact, could be good to do an episode focusing on differing mic types (mic shootout) for different sounds clean, edge of breakup, overdriven, heavy effected etc, for the purposes of recording.
Q&V - Great vlog !!!!!! Mike when do we hear the pickups vlog video ? And Dan also mansioned a wah mod vlog video ? Great show !!!! Keep it Shwanggggg))))))
Any chance of TPS Kemper profiles? With all the amps, microphones and preamps at your disposal!? Available through TPS shopping channel. Bea has done some excellent work with the Victory mob. I’m sure he’d give you some pointers. Cheers!
Or perhaps IRs of their favorite guitar speaker/cab with tracks from each mic, so you can create your own TPS mix. They could even sell them for a few cents on their TPS shop. ;)
Really liked the sound when you had the mid/side mics up that extra 10dB or "really loud", gave the sound more character and sounded less sterile to me. Wish you had them at that level all the time.
Thanks Mick! I would also love a demonstration of your video editing process. After you mix the audio how do you sync all the cameras in your editing software?
Love the fact you're using a Blackmagic camera for the overhead! Best image I've ever had from a video camera, but never invested in the 4k version as the whole thing was too big and heavy for use in the field. Also mine had terrible pre-amps so forced me to use external audio, even when I didn't really want to. Cool rig though :)
Yah, the audio is dreadful in it. But optically it's nice. 10 bit I think, so theoretcially easier to grade but it's a bastard to get it to match with the FS7 and FS5!
Yup, 10-bit and 12-bit raw if you've lost the will to live! Matching footage is why I dumped it for 3 identical GH5's and now will have to do the same for my new Nikon Z7. It never ends, much like the guitar stuff ;) @@ThatPedalShow
Mick, great video! Two questions: 1. Are you planning on switching to mixing on monitors instead of headphones? From my experience it renders better results and also is more comfortable when working for a long time. 2. I noticed that you don’t use low cut filters on your close cabinet microphones, which usually tighten the bottom end. In context of isolated guitars that sounds great, but might be problematic in a band context. Wouldn’t cutting those low frequencies yield more realistic results of the overall sound?
Appreciate the effort (and the expense) you go to Mick - not an ounce of it is wasted. Pedal tones come and go but every show consistently sounds absolutely superb.
I’m a professional recording engineer, I have been working on records for the past 12 years and I’m very disappointed at HOW GOOD TPS sounds! Especially recorded by “someone who’s never produced a record” 😂😂😂 The only suggestion I have to your method is to send the Mid and Side(s) tracks to a bus and then put a 1073 plugin on the bus rather than using 3 different instances. Might make adjustments simpler. Keep up the good work!
Awesome, thanks Al - I will try that!
Only very recently got my head round using busses for effects in Logic - such a help with housekeeping and processing power - thanks for the reminder :)
Paul Harmer I find if I make the right things easier to do then I’m more likely to do them!
TIP 4 Mick:
Create a group (think bus on a mixing desk) for your mid-side tracks (a 'track stack' in Logic). Select the three tracks and "Track > Create Track Stack". Add Logic's Gain plugin in to one of the side channels and flip the phase with that, then put your Neve-clone on the group. This'll allow you to control the EQ and gain of the mid-side setup as a single entity. You could group each of the two amp mic setups as well, and the vocal pair. Automating the volume on the group channel will save on tedious copy-pasting and fader tweaking. Creating a pre-grouped recording template will save you more time still. Many U-tubz on this - many, many U-tubz.
Then again, if what you do works for you then, well, it works. Whatevers.
Love the show, keep 'em coming. 🎸
I tasty insight just a *little* bit of the work that goes into producing That Pedal Show episodes each and every week, that us mere mortals get to enjoy for free. Coming from an old audio engineering background I can appreciate all the work that goes into putting out a package where the audio is ALL important for us consumers and is why I like to support on Patreon as best I can. Cheers guys.
Ah thank you kindly Kman, that's very kind of you!
So let me get this straight the signal chain goes from Mick to a mic to a Mac.
That's very good!
That's Dan brilliant!
And if he's using the Sovtek; Mick to Mig, to mic to Mac
A recent guitar test might have been Mick's Macmull to the Mig, Mic and Mac
mick, to mig, to mic, to mac, to mike
The new room is really quite nice. The technical setup is great - direct - utilitarian - and completely perfect for what you're doing. Mick you have more engineering skills than you give yourself credit for - but thats the humble part of your personality that shines and helps make the show so appealing. The real heart of the show is Mick and Dan, their knowledge, personalities and your amazing CHIT CHATTERY (is this a thing?). You guys make us feel like we could all meet at the pub, have a beer and hit it off famously while noodling on a bunch of guitars. And you guys make that part look easy - and that's the hardest part of all. Cheers, lifting my mug and wishing you continuing success!
Thank you Steven, that's very kind!
Hello Mick it Chad. I just wanted to say that this is an outstanding video. SIMPLY OUTSTANDING. I am so glad you did a video of this. This helps explain so much for me, in turns of mic’ing. Please do more of these as time goes on. I think others will benefit from this as well.
Thank you Chad!
Outstanding! The level of professionalism you bring to the “mix” is amazing and appreciated
You really work very hard on all this. It's nice to see behind the scenes how much is involved in producing this show. The quality of the show and audio is stellar and unparalleled. Your hard work shows and is greatly appreciated by all of us. TPS is by far my favorite program, I watch religiously. Really glad you guys are out there and doing this.
Thank you M, that is greatly appreciated!
Just rewatched That Pedal Show - Pedal Order Basics: What Goes Where & Why? Your newer episodes do indeed sound better and that is saying something since the older episodes sounded fantastic. Way to go.
What a fantastic insight. The effort that goes into the creation of a TPS episode is incredible. I just don’t understand how people can leave negative comments here. Long time fan here. Keep it up guys.
Cheers Mick, nice to hear the audio out of context and realise how good it is, your efforts are appreciated. :)
Thanks Mick, Dan, Simon and whoever else I am missing for all your hard work on TPS! Cheers!
Thanks for posting this up. The slight tweaking of the signal via mic pre’s and EQ is the most interesting part of it for me . Finding a balance of what you remember the audio source sounding like with what the microphones pick up is at least 60% art rather than science is what I’m learning. And it’s different every time. ‘Tis a journey as the cliche goes.
Wow, it's amazing to see how you "make the proverbial sausage"! TPS has always been second to none, when it comes to high quality, realistic in the room sound. Gotta love it. As long as y'all keep putting out great content, I'll keep watching. Thanks and keep up the great work
Thanks for the Mid/Side explanation. Gonna use this for recording an acoustic set. I look forward to watching the show every week, one of the highlights of my day!
I've always wondered how Mid/Side worked! Thanks for the insight!
Killer overview man congrats.....no training eh? The pan shot made me realise you have $100-200k+ easy just in gear (what if you paid a production team!!) insanely well managed obviously. As for the sound I've been on network TV live sets with lesser quality gear and "qualified" sound engineers who couldn't deliver a mix as well as you do. Love the UAD plugin too. We are very lucky to get such great sound from TPS for free!!!! (I'm off to buy another t-shirt ;-)
Mick, what a fine job of audio production my friend. I did my minor in audio production in college and I think I learned a thing or two from you just now. Keep up the great work my friend.
Mick - Very interesting. We appreciate your OCD efforts every week on sound quality. You consistently deliver sound quality that allows listeners to discern small tone differences in the guitars, amps and pedals. The Strymon Volante episode was particularly inspiring.
I went and did audio engineering courses in the 80's and still don't know bugger all really. I have recorded many bands (small unknowns with one exception) and mixed in studio's for bands recorded releases onto vinyl and cd back in the day. Self taught myself mostly and what I hear on TPS is great quality and well produced in the main. Well done Mick and Simon I say.
Always love Mick’s mix.
I've been super curious about the behind the scenes technical elements of capturing all those fantastic tones you guys create, so thank you for taking the time to put this out there for us.
I love this Behind The Scenes Chapters! When I do an M / S I adjust it just the other way around ... First I put the mic in the mid where I want and then I go up the side mics little by little until I get the space on the sides that I like. In any case I am also self-taught in these things. A greeting! Great work!
Thanks for making this. I was going to request it, and you beat me to it. -just really appreciate what you do.
Interesting, informative and inspirational. You are too good to us Mick.
So much of that went over my layman's head/ears but fascinating all the same Mick, cheers.
Thanks Mick, really interesting to see your process, as a self taught engineer there’s always so much to learn. Great to also see the hard work you put into your productions. Love to see more 👍
great content Mick. good to see on the other side of the glass! straight-forward presentation of how awesome M/S mic'ing can be to overall sound quality. And don't sell yourself short as an audio guy. TPS always sounds great and I listen on high quality headphones and earn a living doing live sound.
Cool Video Mick!!! Great to see what goes into making TPS episodes, keep up the great Videos, Cheers!!
So much work! I had no idea. Thanks for the overview
Ha! And this is just part of it. :0(
Great content and a good explanation and demonstration of mid-side recording and processing. Cheers!
Oh great... 🤦🏼♂️ That's just what I needed, ANOTHER rabbit hole to plunge into! 😫
So...THANK YOU! That was awesome! 🙌🏻
TPS' vlogs are always interesting and informative! Thank you!
Thanks, Mick. You've given me some ideas I can try.
Really enjoyed that. Good to see what happens behind the scenes etc very pro setup
Mid/Side mics on an acoustic is magic. Love seeing how the sausage is made! Great video!
I was waiting for you to flip the phase on the fig-8 mic... finally did but I had already typed a stern scathing rebuke!!!
Mmmmm sausage
That's a lot of work.... THANK YOU THANK YOU THANK YOU !!
Hey Mick, when I’ve done M/S before I’ve used an aux to send the side mic to and flipped the phase on it. Just helps with any templates as they’re ready to go. Sound on these videos is absolutely fantastic by the way, really love what you guys do.
Good recommendation as the Beyerdynamic headphones are fantastic - I was a bit sceptical about spending that sort of money vs say AKG 240 mkii as for my purposes it's not critical to have something ultra accurate; but they are so nice to wear, stay comfortable for long periods and solidly built, they completely justify themselves.
Awesome! Thanks Mick!
Cheers.
This is splendid to see. You have beautiful sounds all day and every day, great headphones and coffee, trip the sound fantastic. I enjoy it so.
A note on mid-side for those who don't know. Mid-side is an old broadcasting technique.
Analog broadcasting puts an L+R audio signal on one band, and an L-R signal on the other. This allows backwards compatibility to the older mono systems. This is exactly what the mid-side configuration gives you without having to do any processing. The forward facing mic gives the L+R and the figure-eight pointed sideways gives the L-R (or R-L depending on the orientation of the mic). That's why reversing the phase gives you the strong stereo image.
It does give good control, as Mick demonstrated.
Another technique is the Decca array, used by the label of the same name, mostly for recording orchestras. That's three omni mics placed in an equilateral triangle about a meter apart hung above the director's head.
Apart from you being an audio expert (like I am, recording / mixing / producing records for 20 years now), let me just say I really appreciate the effort, and I mean the hours both of you put into TPS. In times where everything is taken for granted (as its free) all I can say is: No, its not. You need someone with vision, the will and focus and determination to make as good as possible. Danke schön. :-) BTW - Ducktailing on Al Larson's tip on workflow improvements. Waves Vocal Rider might be a great time saving tool for Dans and your vocal mics.
Thank you! I've tried vocal rider and the side chain trick. Albeit once and quickly and it does weird things on the in and out, especially with reverb tails. Cheers!
Been waiting for more behind the scenes videos! Love it!
Attn: EVERYONE. You need to be listening to this in stereo. If you're listening to this through your mono phone speaker you will not be able to hear the midside technique properly. Pop a pair of headphones on.
Great overview ,very enjoyable and informational thanks for doin it.
8:15 - Yes Mick! I feel the same about 57s.
TPS turning me onto Beyer DT880's changed my whole recording and musical world.
Fascinating, Mick. Thanks for doing this. I gotta tell you though, if you guys don't get better stools to sit on, you're both going to be getting Preparation H in your stockings for Christmas in a year or two. Love and shwang from North Carolina!
Half way through the video here. Lots of enquiries popin' out. That Pedal "Academy" has helped me a lot to improve the approach on the instrument. In a professional manner definitely. But as you guys are seasoned musicians and are rehearsing and giging on regular basis, could you guys bring content on a full band scenario? Things like leveling voice/guitar/drums, P.A. set up (power, number, position), tips, quirks, and advices on how to yield on rehearsing.
Cheers from a very demanding but grateful viewer.
Hey Mick! =)
First of all, congratulations for bringing superb sound to our ears for so many years! It takes too much time, effort and patience. I hope now everyone understands the procedure and show some respect to your effort, by listening TPS through a decent pair of headphones.
By the way, I've always loved the stereo image of mid/side technique, even when applied 20cm from amp's grill cloth.
Speaking of headphones, I would like to make a suggestion, in case you haven't tried it yet. There is a plugin, from a company called SonarWorks (I have nothing to do with it, just a satisfied customer), that calibrates your headphones to flat frequency response. That way you can avoid any colorization that every pair of monitor headphones have. It costs money, I know, but they offer a trial period before buying. That's an always on plugin for me. Give it a try if you are interested. =)
Flipping that phase (polarity?) on the SideL / SideR was amazing! You're being too modest when you say your head doesn't deal well with technical details.
Cool video Mick, always great to see what happens behind the scenes.
Great explanation of mid-side micing.
Something I would love to see on your channel is a video about affordable amps with expensive mics VS expensive amps with affordable mics. For people starting out in home recording, we often do not know where to invest in our studio. Should I get a hand wired amp and work with an SM57, or should I get a Deluxe Reverb and buy a U87? I know that quality of the preamp/audio interface plays a major role too, but for the sake of guitar related content, a mic shootout would be cool! Cheers
Instead of a U87, just get an OX! Models of dozens of mics and infinite possible combinations. Plus studio grade effects!
Hey Mick. great VLOG! Comment: I edit interviews everyday for work, and I think one thing that might speed up your workflow is Side-chaining an Amp Mic to a gate on the vocal mics, so that when the AMP gets loud, it will mute or drop the Vox mics. The visual aid of the blown out Vocal Mics probably makes it pretty ez to edit out, but Side-chaining would speed up you process--maybe. I always end up tweaking it a bit, and if it ain't broke don't fix it, so, fwiw. I can totally appreciate the amount of work it takes to produce a quality show, and TPS is great! Thank you to you, Dan, and Simon for giving out sonic joy. Mime is money!
Thanks Jeff. Tried it back along and was getting some issues with reverb trails especially and weird stuff happening. Maybe I'll try again and watch some YT vids. I think there'll be too much manual fixing to do, but always up for time saving!
One thing that I've hear commonly in your audio mix is the acoustic sound of the guitars which is being picked up by those room mics.
This can be heard from time to time as that pick sound when the guitars are strummed or hit hard.
Obviously this is somewhat realistic as if you were in the room you would be hearing the acoustic sound of the guitars anyway.
However from where you're sitting in front of the amps the ratio of this acoustic sound vs the amp sound would be much lower.
With the room mics setup as they are you sometimes get a distracting transient from time to time that isn't coming from the amps, it's coming acoustically from the guitars.
I've noticed this from time to time over the years of watching your show (which I love and watch religiously!)
If I was in your situation I would be feeding the amp mics to a room reverb to negate the acoustic sound of the guitars in the room.
This would recreate the situation where you have a guitarist in the 'control room' and the amps/cabs in another room which is quite common in a recording setup.
I do this all the time with my mic'ed up guitars cabs which are in another room to my control room. I use the UAD Ocean Way Rooms plugin fed from the amp mics via an aux send in the UAD Console and print the output of that to a separate track (you could also do this in post production).
This way you have infinite control over the room sound and it will never have any of the acoustic pick sound in it.
It's fine as it is, but it's something I've always noticed and thought I'd bring it up. If you have the Ocean Way Rooms plugin it's definitely worth a try. (I understand that then we'd be hearing a room that you're not in though)
Another alternative and something that I do when the guitarist is in the room with the mic'ed up cabs in the studio is to use a dual cardioid stereo mic setup (A/B or ORTF) and point them to the back of the room. This way you cancel out the direct sound (and the acoustic pick attack from the guitar) and you capture mostly just the room sound.
You could also keep the M/S setup, bring it into the centre of the room and face your M mic to the back of the room.
Just a though, probably not a huge deal though.
I'm honestly amazed you can hear that. I can't!
@@ThatPedalShow Haha I am ridiculously picky! It's only very slight and probably happens 1% of the time!
Actually a really great sound is an unplugged 335 mic'ed up close with a condenser as a layer in a track!
That was very informative. Thanks for the explanation Mick!
This is an awesome video and tour - thank you! Have you guys ever considered using some of the great gear in your inventory to make profiles for the Kemper Profiler? Keep it up guys, love watching!
Very interesting vid Mick and great to see behind the scenes for the production of the show. I can recommend the 'Pinpoint' Mac app for screen recordings - shows where the mouse arrow is which can be helpful for the audience.
Great use of M/S! I also find it useful when recording acoustic Gs when they'll be alone with just a voice in a mix to give a sense of width while keeping the main centre sound focused and clear. Also then nice to take the reverb feed from the S signals rather than the M one. Gets a bit of space into an otherwise mono-sounding mix.
Good on ya Mick!
I’m in college for sound recording and when going over the mid-side micing technique our professor told us for the side mic you need to to use a matrix to split the signal for the side mic to get a true stereo left and right. But I can’t remover off the top of my head if the matrix is doing the same thing as you did with the tracks or not. Anyways who cares! It sounds great and I’m definitely going to experiment with this more in recordings
It is. Cheers!
Just as a bit more info on the “point” of mid-side miking. The reason the technique was developed and most of the reason we use it in the studio is because it provides an extremely clean way to avoid any phase problems when played back in a mono environment. Other stereo micing techniques can cause partial phase problems when summed to mono depending on where the two mics are placed in the room and can also feel like there is a hole in the “center” of the image. With mid-side, your left and right “sides” are the exact same signal 180º out of phase from each other, so when summed to mono they completely disappear and you are left with only the center mic giving you a perfect mono signal. I have often recorded acoustic guitar in this manner on a track where it is just an acoustic and vocal. The mid-side micing on the acoustic can give the sense of a “stereo” mix which is a bit more interesting, but you still have that center mic giving you a direct sound of the guitar strait on, and when listening back in mono you simply lose the stereo “effect” without the mix sounding compromised.
This was very interesting. Thanks Mick.
You should check out extinct audio bm9 ribbon mics! They’re UK based and sound pretty darn good! Also, the Neumann iPhone app lets you accurately visualize the stereo image you want to record and shows you how to position your mics regarding angles and width etc. Good work Mick!
Loved this!
Hi Mick, any chance you could release backing tracks of the tunes you and Dan wrote for the UA sessions? Since you explained the chords in VCQs on Monday I've been learning 'All of Me' and would love a crack at the solo. Gonna start learning Dan's next :)
Don't worry Mick, I said "t-woo"...
You do a wonderful job!!
Very nice to see how your setup has evolved! Two things you might find useful:
- Have you tried/heard about the Auto-Align plugin by Sound Radix? Might be super useful for you to help you set your mics perfectly in phase.
- I think you should try the G12 mic by Tul Microphones from South Africa. Not crazy expensive at all, dynamic mics made for electric guitars, and use by Joe Bonamassa on stage on all his amps. Never tried it myself, but I aim to do it soon, and it's apparently very good.
Have a nice day!
That phase flip! What the flip?!
Very helpful video Mick and you got good ears mate.
Wow mick you really make s great production of the tps.. very nice
I'd look into using either mix/edit groups for your guitar mics or bussing them so save the multiple clicks of mute/solo etc...not a game change but makes working easier.
I’m buying that UAD rig just for the cool looking neve plugins....
thanks, Mick.. really interesting
You're flipping polarity, not phase. I bring this up because the need to adjust the phase relationship of two mics is a wildly different issue and it seems this might be confusing some folks. Flipping the polarity keeps both tracks in time alignment with one another, but inverts one with respect to the other -- where one wave was up, the other is now down. Across the entire waveform, at all frequencies. Polarity is either positive or negative, there's no grey-scale between the two. i.e., the only thing you can do is "flip it". Other instances where this kind of trickery can be useful: (1) when you mic the front and back of an open-back guitar cab. The front mic is picking up the forward pressure wave of the speaker and the rear mic is picking up the rear pressure wave and to get them to be additive in the mix rather than to be canceling one another, you need to flip the polarity of the signal generated by one of the mics. Similarly when mic'ing a snare drum on top and bottom. A "phase inverter" stage of a guitar amp is more accurately called a "polarity inverter" stage because it is flipping the polarity of one signal so that the signals can combine together in a push-pull configuration. Certain two-amp setups require the polarity of one amp to be flipped because certain gain stages in certain amps cause the polarity of the input signal to be flipped and thus two different amps may be outputting the same input signal in opposite polarity which sounds weird. One also needs to worry about the "phase" or "time alignment" when using two microphones on the same source, like when using two mics on a guitar cab. This is different than polarity. Here, if one mic is further from the source than the other, the signal you record with that mic is effectively going to be shifted further along the time axis relative to the closer mic. If the signal you were recording were a simple sine wave, and you moved one mic to be some multiple of 1/2 the wavelength of the sine wave, this would look exactly like "flipping the polarity" because where one signal is up, the other will be down and vice-versa. The two signals can also be said to be 180 degrees out of phase WITH RESPECT TO THE RECORDED FREQUENCY. But a guitar signal is not a simple sine wave. Even for a held note, there are all sorts of frequencies contained within that signal, each frequency having its own wavelength. So as the signal is moved on the time axis, there will be ONLY ONE FREQUENCY COMPONENT of the signal that is 180 degrees out of phase. All other frequencies will be out of phase to a different degree depending on the wavelength of that frequency relative to the amount of time misalignment of the two signals. That is to say, you can't just push a "flip the phase" button to fix this problem. You can try to flip the polarity of the two signals and you will likely find one configuration to sound better than the other, but both to still have a "phase-y" sound quality. You can attempt to use a plugin that can properly time align the two recorded tracks. Better to get the mics properly aligned at the source. All of this is to say, for the third time, as politely as I can muster via an anonymous post on the internet, use polarity when you mean polarity and phase when you mean phase :) Cheers.
Yeah, this has bugged me too. Especially when they already talk about (say) overdrives with asymmetrical clipping, so there's no way in hell you can have a phase transformation on that wave have the same effect as a polarity inversion.
Good luck in getting the entire audio industry to stop using the phi symbol for 180° phase reverse ... ooops polarity.
Question - if 180° polarity reversal is Not phase reversal then why do two identical waveforms, whatever their shape, cancel out when mixed if one is reversed ? And cancel they most certainly Do however complex they're composition.
Nitpicking of the highest/lowest (dependant on polarity) order IMO.
End of grumpy breakfast time rant ...
It just goes to show that you can't reverse backwards.
Would a better expression of this 180*D / reverse polarity... Be in an opposite polarity? Hmm?
Grrr ! English can be so vague! LOL
Do we need a legal team to it workout? (Just saying).
@@KozmykJ yeah, I'm not expecting the audio industry to change. I brought it up because I was confused about why you would adjust phase of an amp relative to another in anyway and then remembered "oh, right, he's actually talking about flipping polarity". Signals that are identical but-for their polarity will always cancel. For real-world signals more complex than a simple sine wave, phase shifting will cause cancellation at some frequencies and reinforcement at others - comb filtering. The important point is that phase is always a time-based phenomenon, and for folks that think that way (say, people that learned about this in physics more so than electronics) it makes it hard to understand why you want to adjust the phase of one amp relative to another in a two-amp rig - which you don't, you might need to invert the polarity of one with respect to the other. Polarity is not a time-based effect, its taking what was positive and making it negative and vice versa. Two sine waves where one has had its polarity inverted are NOT technically "out of phase" with one another unless one has been shifted on the time line. two sine waves that are 180 degrees out of phase with one another at the frequency of the sine wave cancel precisely BECAUSE with such a simple signal is polar-inverted when phase shifted a specific degree...but this only occurs with very simple signals.
Man. That is a lot of effort. Or at least it seems that way for someone who has never attempted to do anything like this before.
I'm amazed you manually mix the mics! I'm sure you get great control that way, but there's gotta be an easier way to sidechain duck the vocal mics when the amp mics are getting signal. might be time saving to explore!
Room mic trickery at That Pedal-Mic Show!
I record my Amps with Audio Technika AT 2020 Mics, they are great for that!
For me the part that I felt was something I didn't expect was when you said the dual diaphragm mic was mono. I was thinking it was a stereo dual diaphragm mic.
Nope. Those mics are mono. Cheers!
Awesome overview Mick! While you may not consider yourself an 'expert' you certainly know what sounds good and that's all that matters isn't it? One thing that helped me a lot with my mixes was using high pass filters. I know you used them at some points on the 1081s but you might want to try high passing at 50 (or even 80, but that may be a bit too much) to remove sub bass information on the cab mics that isn't audible such as low oscillations or rumble. Obviously you don't want to make anything thin so try clicking the HP in until you hear a difference (probably 80hz) then click it back one (probably 50hz). That'll remove all the inaudible crap that eats up headroom in the mix. What you should find is that everything is somehow a little cleaner and clearer... just a little, as everything sounds for bloody stellar anyway but every little helps right?
On the Mic front I'd love to hear a ribbon in the mix, especially a 121. Royer makes a less expensive passive ribbon called the R-10 if budget is an issue.
Fantastic Vlog! :)
I spend my life recording guitars - have never found a 'better' mic for amps than the sE RNR1 Active Ribbon.....honestly sounds exactly like the amp does in the room once it's placed correctly. Lemme know if you'd like to borrow it for a bit!
Hey Mick, thanks for a great VLOG. Just wanted to add a suggestion regarding MS tehnique, hope you find it useful. Maybe you could get more accurate result if you first sum the three audio channels of a MS recording (with levels set at your taste) without any plugins to a stereo group and only then add a stereo EQ plugin to the group. Don't want to be boring with the endless audio theories, but adding EQ plugins with different settings to each MS channel could spoil the initial phase correlation between the channels and degrade the initial sound of a recording in terms of frequency response. Of course it is not crucial for overall sound of my favorite TPS, but since you put so much effort to every detail, this might give you that 1 or 2 percent of a bonus quality, and that's what this is all about, isn't it? All the best, guys!
Hey, thank you for doing this. I learn from your good work and I appreciate it. Keeping in mind how you mention how time is precious, is there any benefit to posting UK/Aus/US gear links for this episode? Thank you!
Hi Mick, I'm looking for mics for my first digital home recording set-up. I was considering the e906 for the amps/combos - I like the flat and space-saving 'hang it over the front' design. However, I noted your comment that it can sound harsh. Is there anything you'd recommend that's a similar, affordable price?
Great vid Mick lad!!!
Hey Mick, you should experiment with ORTF and Bulmlein Pair if you get chance. Also, check out Schoeps mics for ambient miking - definitely a huge step up from the 414’s. Also did you look into the lower cost Royer the R10? Would be interesting if you could get one and demo - in fact, could be good to do an episode focusing on differing mic types (mic shootout) for different sounds clean, edge of breakup, overdriven, heavy effected etc, for the purposes of recording.
Q&V - Great vlog !!!!!! Mike when do we hear the pickups vlog video ? And Dan also mansioned a wah mod vlog video ? Great show !!!! Keep it Shwanggggg))))))
Any chance of TPS Kemper profiles? With all the amps, microphones and preamps at your disposal!? Available through TPS shopping channel. Bea has done some excellent work with the Victory mob. I’m sure he’d give you some pointers. Cheers!
Or perhaps IRs of their favorite guitar speaker/cab with tracks from each mic, so you can create your own TPS mix. They could even sell them for a few cents on their TPS shop. ;)
Michael Britt wrote the book on it. Really nothing that we could add. Cheers!
Really liked the sound when you had the mid/side mics up that extra 10dB or "really loud", gave the sound more character and sounded less sterile to me. Wish you had them at that level all the time.
Start a RUclips channel and do it the way you like it Tom!
Thanks Mick! I would also love a demonstration of your video editing process. After you mix the audio how do you sync all the cameras in your editing software?
This was covered in a video a year or so ago - Simon explains it all... Have a spin through the list. Cheers!
I'm watching this again because I couldn't when it came out. I just realized you said Schwangrila......
12:13 to wooh..! :-)
I did that too. Pavlovian response.
great video!
Sounds professional to my ears. I am listening on decent headphones. I wonder what it sounds like on a nice pro set like yours!
Love the fact you're using a Blackmagic camera for the overhead! Best image I've ever had from a video camera, but never invested in the 4k version as the whole thing was too big and heavy for use in the field. Also mine had terrible pre-amps so forced me to use external audio, even when I didn't really want to. Cool rig though :)
Yah, the audio is dreadful in it. But optically it's nice. 10 bit I think, so theoretcially easier to grade but it's a bastard to get it to match with the FS7 and FS5!
Yup, 10-bit and 12-bit raw if you've lost the will to live! Matching footage is why I dumped it for 3 identical GH5's and now will have to do the same for my new Nikon Z7. It never ends, much like the guitar stuff ;) @@ThatPedalShow
Mick, great video! Two questions:
1. Are you planning on switching to mixing on monitors instead of headphones? From my experience it renders better results and also is more comfortable when working for a long time.
2. I noticed that you don’t use low cut filters on your close cabinet microphones, which usually tighten the bottom end. In context of isolated guitars that sounds great, but might be problematic in a band context. Wouldn’t cutting those low frequencies yield more realistic results of the overall sound?