Btw Glenn can u do a video explaining the PAD thing you were talking about I literally can't find the info on that unless I'm not looking in the right place
Yeah. I love the super informative studio veteran Glenn Fricker. He has so much information that bridges the gap between how a pro studio works and how you can use those techniques in a home studio. Then there is the angry, cursing obnoxious Glenn. I give up on some of his videos because of it. But I bet 196, 000 of his 197, 000+ subscribers tune in just to see that... Anyway. Glenn can do things anyway he choses. Great video guys!
The video conviced me to do not spend more money for another mics and continue recording cab with shure sm57 or with an vintage md421 I already have, which sounds to me better than the new one.
You know a standard everyday guitar guy would think these sounds are too bright and no low end but as someone who mixes and Glenn's profession is mixing these bright and tight tones are exactly what a metal mix needs
Nice to see thomann and Glenn doing stuff together! And a stunning beautiful guitar... As I'm experienced with micing cabs there was not much new for me, but the Warm Audio U 87 suprised me
The Neumann KM184 is nothing but a basic pencil condenser, which are dime a dozen and sound like shit on amp cabs. That said, I'm calling bullshit. "Massive" my ass. Are you trying to sell something?
@@ShadovvV Periphery uses KM184s on their Juggernaut record and I don't think they have shitty guitar tones. Are you bashing from experience or purely because you've read shit online and never actually trying it?
@@warrenoids - Do you even know what a pencil condenser consists of ? Take one apart and look. They're all the same and they sound like shit. Who needs "experience" for that ? Seriously man, snap out of the trance.
He's absolutely right. I was sold a bill of goods on attenuators. Kids, when you finally crank a tube amp LOUD it might bring tears of joy to your eyes. You'll never truly hear a tube amp until you crank it loud. Also your EQ knobs are passive, so anything less than 10 and you're actually CUTTING whatever the control controls.
wow, when he said the differences between those 2 can cancel some frequencies makes a lot of sense, freq response, phase shift freqency dependant and much more others differences complements each other to cancel or make frequencies cut through..,.. great experiences from a experimented music cooker
After watching some SpectreSoundStudios videos, I went to watch a Henning Pauly video and there was Glenn Fricker, and now I am watching a Thomann video and there is Glenn Fricker as well.... HELP!
I love Thomann, I've been ordering from them for a decade. Glenn is a metal recording guru. However, it would've been better to play the same riff - Ideally the SAME DI signal re-amped to better demonstrate mic changes. Again, love to both Thomann and Glenn.
Awesome Video. But I wondered why you not used a Sennheiser e906 or 609, because it seems it is quite popular especially because of the price point. How would you describe the characteristic? Is it similar to the MD421?
The two very firsts microphones I got for my amp recordings were the 57 and 421. It is always a good place to start for these type of things. I would get the 421 before the second 57 like he did the 57 pairing on account the 421 will allow you to get better bass guitar amp recordings if you choose to do so. Maybe get a second 57 as your third amp mic.
That was a pretty good all in one guitar recording video :) The only "complaint" I have about this is that it would've been cool if you'd tried to achieve the same tone using cheap gear only, for example with t.bone mics. Would've been awesome to hear Glenn's opinion on how their SM57 clone for example compares to the real deal.
How to mic a guitar cab: Point the mic at the cab, preferably in the vicinity of the speaker. Move it around till it sounds good. How to put on pants tutorial, coming up next...
Hello Kristof, It is a bit out of the subject but why there is just Vintage 30 options For Harley Benton Cabinets? I think lots of guitarist will be very happy to have different options such Greenback G12m. I will definitely buy one of vertical 2x12 cabinet if it is loaded with Greenbacks.
I wonder why everyone talks exclusively about close miking a cab right up against the speaker cone? I have gotten some of my best and most organic sounding takes by placing a mike anywhere from 1 to 4 feet away from the cab. Yes yes yes. It loses the proximity effect and picks up the sound of the room. But so what? I can compensate for proximity loss with EQ. Anyway, my point is who in the world actually listens to a guitar amp with their head stuck right up next to the grill? Most of us listen to bands anywhere from 20 to 50 feet away from the stage in a small club. And since guitar amps are designed to project, the sound actually really starts to gel from a distance.
welcome to modern metal/rock production ;) I know where you're getting at and find it absolutly valid - for certain styles of music, but not for e.g. modern metal. One of the best sounds I've gotten was a Schoeps figure-8 about 3-4 feet away from the combo. But that was awesome equipment in a great room. If the room doesn't work, you ruin your tone if you get too much of it -> close micing. If you need really tight tones for downtuned metal -> closer. I suppose not everyone is close micing solely for the proximity effect ;)
No. I wasn't saying that everyone is close micing solely for the proximity effect. I was simply saying that when you move the mics out into the room you lose it. And some will complain about the loss of bass. I also understand that with really tight djenty stuff, close micing might be preferred. I've close miced stuff myself plenty of times. I was merely stating that I have gotten some of my best takes with mics out away from the cab...especially if I crank the amp volume up a bit. And for what it's worth, my tracking room is a medium sized bonus room and not necessarily what you might call a "great" room. I have some treatment on the walls, but it's not a dry room by any definition. And I still get really good takes.
The e906/SE Voodoo VR2 Ribbon Combo is our standard mic configuration for all of our recent guitar videos. In our Jim Root Soundalike the Ribbon is dropped by 6db, you should be able to hear the character of the e906 pretty good: ruclips.net/video/8DS71kt3tM0/видео.html //Philipp
You should win the best question award for ALL these type of vague videos. Not only didn't they address your question, but they also said nothing about speaker type and room acoustics, which are both absolutely crucial factors, even more so than microphones.
after I watch this video, I went to see Despised Icon video on youtube Live in montreal, When I listended to this, as a new sound engineer, I noticed the bass wasn't centered. don't get me wrong, the mix is awesome!!! but I felt that bass line had some stereo work on it (maybe playing with phase in stereo?, is it possible that the bass line wasn't 100% mono?)
I've been pairing the AT2035 (www.thomann.de/de/audio_technica_at2035.htm) for a while now with the SM-57 on a Vintage 30, as I like the sound of the speaker in the room and wanted to catch as much as possible of that. Works like a charm.
I'd like to know what type of room acoustics and cabinet you have because that would be more of a factor, since getting the "sound of the speaker in the room" isn't as simple as the microphones you use. That obviously has to do with room acoustics and cab type, but mostly room acoustics. So I'd say your 'room sound' is obviously coming from something else, especially because that line of 20_ _ Audio Technica mics suck ass too. Those are truly awful microphones.
hes actually very good at replying, even when youre giving him shit. and remains professional as well(again even when giving him shit) part of why his channel is awesome, hes just himself. the other part is his useful information. at least imo.
Leander Johnsen this isn't bedroom jamming tone. It's a mix tone. If it was huge sounding the first thing a pro mixer will do is remove all the low end etc.
Can confirm you really need to either have a loft where you can shift to the other room or just play to a condenser with an amp louder than you'd like just to muffle out the acoustic properties of your guitar. Now I play a gretsch so it's probably worse than the average gibson or fender player
Thanks for having me on the show, guys!
your face when he started talking about picking noise was priceless hahahahaha
the sound is not fizzy in here. quite surprising sir.
the Fredman technique is simply awesome!!! I love it the most, so simple, so great, thanks Glenn!
I really like this side of you Glenn I love both sides though no bias
Btw Glenn can u do a video explaining the PAD thing you were talking about I literally can't find the info on that unless I'm not looking in the right place
First time to see Glenn calm & polite :D
Oh sorry I wrote that before the last minute :DDD
Yeah. I love the super informative studio veteran Glenn Fricker. He has so much information that bridges the gap between how a pro studio works and how you can use those techniques in a home studio.
Then there is the angry, cursing obnoxious Glenn. I give up on some of his videos because of it. But I bet 196, 000 of his 197, 000+ subscribers tune in just to see that...
Anyway. Glenn can do things anyway he choses. Great video guys!
"If it annoys your family, you're doing it right" - Glenn Fricker... The phrase I've lived by my whole life
You know, it’s sad, but true.
5:00 sm57
7:54 sm57 freidman
9:06 sm57 and 421
9:51 421
11:00 sm57 and SE VR2 Voodoo
12:28 warm audio WA-87
to me the warm audio and the 57/421 combo are clear winners.
As stated in the video description ;)
how did NO ONE thumbs this up. FUCK GUYS.
The video conviced me to do not spend more money for another mics and continue recording cab with shure sm57 or with an vintage md421 I already have, which sounds to me better than the new one.
Glenn just continues to amaze me. Great job guys some good playing
You know a standard everyday guitar guy would think these sounds are too bright and no low end but as someone who mixes and Glenn's profession is mixing these bright and tight tones are exactly what a metal mix needs
Nice to see thomann and Glenn doing stuff together! And a stunning beautiful guitar... As I'm experienced with micing cabs there was not much new for me, but the Warm Audio U 87 suprised me
The Warm Audio just works in front of everything, I think it would even make a dishwasher sound great! //Philipp
4:47 "He just sticked it in and I was like, ooookay" :D
"It's way more tight..." lol
Grayson Wilson-Cacciapalle which he loves!
OMG I couldn't stop laughing when I saw this LMFAO
I never thought my favorite dude would turn out to be Glenn. I trust the man and he makes me laugh.
Best guitar micing demo on youtube. I loved that U87 clone.
The best guitar tone i have ever achieved was thanks to a Neumann KM184 on centre/on axis, with a Shure SM57 off axis, it sounds massive
Don’t have a KM184 but I am totally stealing this
The Neumann KM184 is nothing but a basic pencil condenser, which are dime a dozen and sound like shit on amp cabs. That said, I'm calling bullshit. "Massive" my ass. Are you trying to sell something?
@@ShadovvV Periphery uses KM184s on their Juggernaut record and I don't think they have shitty guitar tones. Are you bashing from experience or purely because you've read shit online and never actually trying it?
@@warrenoids - Do you even know what a pencil condenser consists of ? Take one apart and look. They're all the same and they sound like shit. Who needs "experience" for that ? Seriously man, snap out of the trance.
@@ShadovvV I think it's you that needs to snap out of the trance. I doubt you've ever even took a look inside a pencil condenser.
When Glenn speaks, we should all listen. This man knows his shit.
Great video! This alone was worth the Sub! Great job Kris!!!
wow i really liked the fredman and the 421 with the shure. double micing the cabs sounds really good thanx Glenn
He's absolutely right. I was sold a bill of goods on attenuators. Kids, when you finally crank a tube amp LOUD it might bring tears of joy to your eyes. You'll never truly hear a tube amp until you crank it loud.
Also your EQ knobs are passive, so anything less than 10 and you're actually CUTTING whatever the control controls.
wow, when he said the differences between those 2 can cancel some frequencies makes a lot of sense, freq response, phase shift freqency dependant and much more others differences complements each other to cancel or make frequencies cut through..,.. great experiences from a experimented music cooker
really like the sound of the 57 and 421 pair
Cool finish on the Jackson guitar.
After watching some SpectreSoundStudios videos, I went to watch a Henning Pauly video and there was Glenn Fricker, and now I am watching a Thomann video and there is Glenn Fricker as well.... HELP!
So you are saying that Glenn is stalking you via RUclips ? Ha ha :-)
Antonio Olivari haha same here, this one is great😎
Dude is sought after!
great video, very informative.
Ribbon and sm57 combo was bonkers
That amp set like that sounds to me like a classic rock sound with modern metal gain.
Did he just make a cocking motion after saying SMG?
Yup
Great vid! Really liking this channel!
That ribbon and 57 sounds fucking killer!!! Good call Glenn!
Fredman 57 sounds nice ! and the Warm Audio WA-87 too
The 57 is the only way to go... even in the studio... with a blanket ..;)
I love Thomann, I've been ordering from them for a decade. Glenn is a metal recording guru. However, it would've been better to play the same riff - Ideally the SAME DI signal re-amped to better demonstrate mic changes. Again, love to both Thomann and Glenn.
Hoffentlich verkauft ihr mal bald die Halter für die Fredman Technik, machen das Leben so viel einfacher :P
cool video on mic placement. Shure Sm57, Senheisser 421 etc.
Awesome Video. But I wondered why you not used a Sennheiser e906 or 609, because it seems it is quite popular especially because of the price point. How would you describe the characteristic? Is it similar to the MD421?
Next episode: how to mic your guest properly. LOL!
LOL I can hear it fine nevertheless
Also,if you have a multi-speaker cab (4x12,2x12) Move the mic(s) from speaker to speaker to hear which one or which pair sound best.
It's great to see you two doing a show together. :) Take care! Sam from the machiwoomiapoo channel.
I like a Beta 57 10-15(!) cm away from the speaker on clean-crunchy tones.
The two very firsts microphones I got for my amp recordings were the 57 and 421. It is always a good place to start for these type of things. I would get the 421 before the second 57 like he did the 57 pairing on account the 421 will allow you to get better bass guitar amp recordings if you choose to do so. Maybe get a second 57 as your third amp mic.
Event Horizon Records nice advice !
Very helpful Thank you guys
Awesome, wish there was a royer 121 as well
kris is such a beast
That was a pretty good all in one guitar recording video :) The only "complaint" I have about this is that it would've been cool if you'd tried to achieve the same tone using cheap gear only, for example with t.bone mics. Would've been awesome to hear Glenn's opinion on how their SM57 clone for example compares to the real deal.
Oh and Thomann: You guys really need to get these in stock: www.wilkinsonaudio.com/product/fredman-mic-clip
Pauli Kettunen Thanks for the suggestions Pauli :)
Good! Keep it up!
._.
How to mic a guitar cab: Point the mic at the cab, preferably in the vicinity of the speaker. Move it around till it sounds good.
How to put on pants tutorial, coming up next...
I liked the Fredman technique the best
Hello Kristof,
It is a bit out of the subject but why there is just Vintage 30 options For Harley Benton Cabinets? I think lots of guitarist will be very happy to have different options such Greenback G12m. I will definitely buy one of vertical 2x12 cabinet if it is loaded with Greenbacks.
Glenn is pretty charismatic when he's not screaming
He doesn't scream as much in his older videos, maybe screaming got him more views or something xs
@@caca_spaniel_1239 he watched a couple popular videos from 2013 and figured that screaming = funny. And then just never quit the reddit act.
I wonder why everyone talks exclusively about close miking a cab right up against the speaker cone? I have gotten some of my best and most organic sounding takes by placing a mike anywhere from 1 to 4 feet away from the cab. Yes yes yes. It loses the proximity effect and picks up the sound of the room. But so what? I can compensate for proximity loss with EQ.
Anyway, my point is who in the world actually listens to a guitar amp with their head stuck right up next to the grill? Most of us listen to bands anywhere from 20 to 50 feet away from the stage in a small club. And since guitar amps are designed to project, the sound actually really starts to gel from a distance.
welcome to modern metal/rock production ;)
I know where you're getting at and find it absolutly valid - for certain styles of music, but not for e.g. modern metal.
One of the best sounds I've gotten was a Schoeps figure-8 about 3-4 feet away from the combo. But that was awesome equipment in a great room. If the room doesn't work, you ruin your tone if you get too much of it -> close micing. If you need really tight tones for downtuned metal -> closer. I suppose not everyone is close micing solely for the proximity effect ;)
No. I wasn't saying that everyone is close micing solely for the proximity effect. I was simply saying that when you move the mics out into the room you lose it. And some will complain about the loss of bass.
I also understand that with really tight djenty stuff, close micing might be preferred. I've close miced stuff myself plenty of times. I was merely stating that I have gotten some of my best takes with mics out away from the cab...especially if I crank the amp volume up a bit. And for what it's worth, my tracking room is a medium sized bonus room and not necessarily what you might call a "great" room. I have some treatment on the walls, but it's not a dry room by any definition. And I still get really good takes.
Not disagreeing with you especially since "do whatever works for you" always holds true :)
Keep it up!
Max
"Proximity effect" rly doesn't depend on actual distance form source.
What matter is sound wave shape, direction ect.
Dude. The word "proximity" MEANS "nearness in space, time, or relationship". It has everything to do with the distance of the mic from the source.
Thoughts on the Sennheiser e906?
The e906/SE Voodoo VR2 Ribbon Combo is our standard mic configuration for all of our recent guitar videos. In our Jim Root Soundalike the Ribbon is dropped by 6db, you should be able to hear the character of the e906 pretty good: ruclips.net/video/8DS71kt3tM0/видео.html //Philipp
Awesome!
Do you guys record both mics in mono or is one panned left and the other right? Thanks!
i also liked the condenser. Hey how would it sound with the fredman technique with 2 condensers?
My doubt refers to where do you plug mikes to? Directly to amp or p?a aside
can i put mics on both speakers? one mic each..
is there a difference between mic that sits together in one speaker and mics apart from each other
You should win the best question award for ALL these type of vague videos. Not only didn't they address your question, but they also said nothing about speaker type and room acoustics, which are both absolutely crucial factors, even more so than microphones.
after I watch this video, I went to see Despised Icon video on youtube Live in montreal, When I listended to this, as a new sound engineer, I noticed the bass wasn't centered. don't get me wrong, the mix is awesome!!! but I felt that bass line had some stereo work on it (maybe playing with phase in stereo?, is it possible that the bass line wasn't 100% mono?)
Pretty cool advices! i just wish i had some of that gear lol
I wanna hear what glen thinks of heavier Krautrock like guru guru!
Hey, when you guys were talking about padding your signal from the mic to the interface, what is a good product/sytem to use for this?
What about the e609 or e906? Do you guys have any comparsion like that with one of those.
JHC !!!!! I fucking love the fucking Painting on the wall behind you guys !!!
is it wise to record the delays and reverbs into the amp and into the mic or is it best to add them after with reamping?
Best to add after, otherwise you have no control over the effects and can't alter them anymore.
Sounds like you screwed up on Glenn's voice mic and had to use the built-in camera mic.
I've been pairing the AT2035 (www.thomann.de/de/audio_technica_at2035.htm) for a while now with the SM-57 on a Vintage 30, as I like the sound of the speaker in the room and wanted to catch as much as possible of that. Works like a charm.
I'd like to know what type of room acoustics and cabinet you have because that would be more of a factor, since getting the "sound of the speaker in the room" isn't as simple as the microphones you use. That obviously has to do with room acoustics and cab type, but mostly room acoustics. So I'd say your 'room sound' is obviously coming from something else, especially because that line of 20_ _ Audio Technica mics suck ass too. Those are truly awful microphones.
Glenn's delivery of the 411 is much more effective when he's not acting like a pissed off teenager.
how can they hear the result of micking if they are sitting in the same room where the cab is standing?
monitors
1st miking : So thrashy, wow
2nd miking : defly less fizz
3rd miking : wow, huge asf
Would anyone recommend blending the 57 with a condenser? How would that turn out?
you could always try, i've heard good things about the 57/NT-2 combo
421+57 is the technique Andrew Scheps uses.
actually liked the single sm57 better than anything
Great stuff!
What guitar is in the back on the right? Looks amazing imo :3
That's one of the Made in Japan Telecasters: tho.mn/vw2ll //Philipp
Glenn "you just can't go wrong" Fricker
Darn it Jackson, why can't you sell the red pro soloist anymore Dx
sm57 dead center + at650 dead center : thank me later Amazing Tone
No mb75 test? come on!! t.bone mics rule!!!
That's what I was hoping for too! I use one for recording guitars, and I think it's pretty good. I don't have anything to compare it to, though.
I think the isolated sounds of the 57 and 421 are wrong... I would expect a bright sound on 57 and a dark sound on 421 and not viceversa.
No bassists were harmed during the filming...
my 6505/rectifier cab doesn't come to life until volume is around 1.......police volume....lol
play the metal demo riff!!
That Telecaster....
0:03 dad jokes, lol
Getty on spegetti
This is actually my rig. Wtf
just one 57 sounded best to me
Why are Glenn's legs so huge?
13:57 Where's she gonna make a sandwich tho
:)
Holy shit Glenn replied :O
hes actually very good at replying, even when youre giving him shit. and remains professional as well(again even when giving him shit)
part of why his channel is awesome, hes just himself. the other part is his useful information. at least imo.
What is smg? Does a shotgun motion. Poor guy lolol
if it annoys your family i guess its time to get a new family
Weird :D
If it annoys your ex-wife... Great!
Fredman sounded least awful, guess i learned what fizzy sounds like today.
Leander Johnsen this isn't bedroom jamming tone. It's a mix tone. If it was huge sounding the first thing a pro mixer will do is remove all the low end etc.
CIRCLE OF TONE Your friend for guitar tone, i am aware. Still sounds like too much gain and presence to me. Hope this isnt the raw recording?
Nice show, except for the sexist comment about women and kitchens.
metal ppl are so cringe
SpaceOrbison bruh
Can confirm you really need to either have a loft where you can shift to the other room or just play to a condenser with an amp louder than you'd like just to muffle out the acoustic properties of your guitar. Now I play a gretsch so it's probably worse than the average gibson or fender player