I'd find some 45LB plates to put under the legs of that overhead mic stand. watching the mics constantly bobbing up and down while tracking/knowing the accuracy of the image is always shifting slightly...that'd drive me crazy
Are the 1/2 mic outputs of Big Knob Studio suitable for recording electric guitar with DAW VST amplifiers? I did not find a Hi-Z mode, and I do not like the tone, too much background noise and distortion
Sometimes it’s a matter of demand if you make something that everyone wants you can charge whatever you want and people will pay to get it and anything can be reverse engineered or copied even though the clone will never get the notoriety it doesn’t mean it’s not good it’s just not the name brand and I’m not a name brand guy and I’ll buy a Neve 33609 when my studio pays for it and if it never does I guess I just saved a bunch of money
Cool sound for a single SM57! However, the polarity thing doesn't matter at all - it's the same signal, you can't hear the polarity. What we hear are changes in pressure, so the direction of the signal is unimportant. Polarity can only become interesting if we have multi-mic setups, especially the classic snare top vs. snare bottom - here we then have two signals with opposite polarity, which will lead to some level of cancellation unless we flip the polarity of one of the two.
Behringer margins are low across the board. There's no double this, double that scheme.... that's why you pay 2k for a 500$ "branded" made unit. Again, profits are not doubled going from one hand to the other for "reputable" brands but it's substantially more than Behringer as they bank on sales volume, rather than profit on units.
he uses the limiter first so the peaks don't make the compressor jump and not be able to release before the next transient. This is like using an 1176 with a high ratio before a LA-2A it lowers the peaks only so the slower LA-2A doesn't react to huge spikes. Same idea.
Hey mate. I barely ever post a comment on a video, but I just wanted to say that your channel is one of the best out there, and that’s a really cool tune you’re working on. The drums actually sound incredible.
How do you feel about the idea when you Mic everything to not really have overheads but let the overheads really focus on the cymbals? I heard that somewhere and thought it was interesting
Re: noise in passive ribbon mics. For buzz, I’ve had great success with mu-metal shielding. For hum and RFI, you can arrange the leads from the motor to the transformer in a humbucking formation. Also, using quad microphone cable with Neutrik EMC connectors works wonders. Made all of my passive ribbons whisper-quiet under any environmental condition. For context, I used to live in San Francisco under a mile from Sutro Tower, a MASSIVE transmitter. I struggled with hum, buzz, and RFI for years in passive ribbons, dynamics, low-output condensers and tube mics. Learned a lot 😅
This is basically how vocal riding (and other "rider") plugins work afaik. Not the saturation part, but the automating the RMS or LUFS-M of a track. At least that's how I usually do vocal riding. Record the output of a LUFS-M meter, invert it and automate the volume of the vocal track with it. I usually reduce the automation by around 50% though so it doesn't sound completely squashed.
@@chris_share It needs to have a parameter that follows the loudness values that the meter reads. If it has, you can simply bring up the automation envelope for that parameter in your DAW, set the automation mode to write and then play the track through until you've recorded the loudness for the whole track. I do this with Reaper's stock Loudness Meter, which can output peak, RMS, LUFS-I/M/S and LRA. I know that Waves VocalRider also can do this, but I don't know of any other off the top of my head. I'm sure there are others though.
Great technique! I will sometimes reduce the volume of the lead vocal in proportion to the music push and let the buss processing sort out the fight - can sound massive and dynamic with not that much actual volume change...
Literally just tried this but in the box since I don't have a physical amp and can atest; it works!! Ideally two guitars takes are always there but in the context of this project is it a no-go so this really helped.
Hello, I would like to add a wah to the bass signal, so I can have the DI bass and the one with wah on it, is it necesarily to have di boxes? I mean i just want to send out bass track to the wah pedal and then from pedal directly to one of the interface inputs, let me know. Thank you!!
I’m still worried about the snare and the lower pitches of cymbals when you boost that 3k on that guitar perhaps side chain the snare and have that 3k duck just a tiny tiny bit like -.5 bd would make the snare break thru the guitar?
Wouldn't it be easier to find the "problem frequencies" by using the spectrum analyzer? Sure it won't enable you to fix those problems, but it would give you a starting point to look, then use the EQ to narrow down the exact frequency to adjust.
IMO looking with eyes is overrated and hugely misleading sometimes. Something may 'poke' up in an analyzer that's totally fine and doesn't need to be pushed down.
@@TheAzurefang Not sure how else one looks, provided that one isn't blind. Of course, your ears are the actual judge here. The visual assist is just that. An assist. A reference point to get in the right direction in order to save time.
These Vintage Amps( including the Gibson one)have a very interesting and distinctive tremolo sound-Have you seen the all new Fender Mustang LT25 Amp and the Fender Mustang Series of Amps? The Fender Mustang LT25 has tremolo sound in it
When I read the title to this video: "I feel personally attacked" 🤣 helpful video! I frequently use way too many layers, just now starting to learn how to shelve and duck and all these things. I dont use a DAW but all the concepts here are applicable to love recording with a mixers and bussing too.
Really great video, this totally resonated with me. I can attest to the small room technique. I’ve got a very small area to work with, and it took me so long to figure out the best way to get a roomy sound, and it was exactly what you said. I took two sterling, active ribbon mics behind a Gobo, about 8 feet out front of the drum kit, and compressed it pretty good, and boom!! I got the sound I was looking for!! 🙌🏻😁
Great video! Thank you Ryan :) I was wondering if you still use Sonarworks or any other calibration software and if you had any thoughts on still using them (or not)
Cool idea - I especially like the technique of building a saturation riser with the band while keeping the vocal constant. Generalizing that thought suggests a bunch of possibilities.
They definitely tend that way. But they're more flexible than other instruments too. I don't think people make enough use of high-pass and band pass filters. It's maybe a reason why the Korg MS-20 has a good history with bands. It's very pokey and you can really shape it to a point. Shaping reverbs, especially on synths is important too. Tuning / EQing the reverb can be more important than EQing the source.
@@compucorder64 absolutely. Often I’ll put the filterfreak on synths with only certain frequencies allowed through. And eq-ing reverbs is a must. Right on! Problem I have now are lush pads that act as leads- the drums just disappear
@@sonicpulp9417 That's a tricky one for me, because I more work on electronic/guitar music without drums. Subtle sidechain ducking of the pad, when the drums hit could help. And, I'm sure there's really clever side chain ducking now, that can duck in just some frequency bands selectively based on a sidechain input from say the snare and maybe toms. Since I'm guessing it'll be less the kick and hats that get obscured and more the low mids. Another thought would be that you could seperate them more by having the snare center front dry, saturated, and keep the pad stereo image quite wide and reverberant. And instead of relying on unison/stacking for lushness look more to create interest in pads with movement and detail (pwm, wavetable, granular). Then I think of drum sounds that work well with thick pads, and what comes to mind is very processed, gated, lo-fi type drums like you'd find from a Linn or Sequential Drumatix Drum Machine. Real drums could be processed in the same way, to punch through hard, but short, so the drums slam through, but leaving space for the pad.
@@compucorder64 wow awesome. I’ve been experimenting with all sorts of ducking recently on instruments you wouldn’t expect (also helps create movement). I usually use the trackspacer but soothe 2 w sidechain is an incredible option I just found. Mixing is so different from live playing.. I love my drum sound but it is completely different after I add a few things. Even though i try to make em super punchy
@@sonicpulp9417 You know, when I saw the original video title, one thing I did think is that using Soothe3 can help de-clutter a mix. Because removing those unwanted resonances makes space. You could try experimenting with mono trash/knee/wurst mics super compressed and maybe with saturation. And experiment with the level. I like Blackbox HG-2 for that type of saturation applicatioon. Though I've wanted to get hold of Softube Overstayer for that too. Introducing a dirt channel, extreme compression and saturation is a great way of dialing to taste how up-front a drum sound is. And mono is underrated too, on trash mic, overhead, on near/mid room. SM57s are damn good on that thrashy use case too, which makes sense since it's not a million miles from a gnarly guitar amp tone.
Behringer keep talking about the high quality of the audio. I though the point in vintage gear and vintage gear clones is to give character to audio and make it not sound perfect. High quality audio is not difficult to achieve in 2024.
