FOUR great GUITAR TONES with ONE THING in common! 

How old-school are you when recording guitars? 😇 Tube amps and real mics? Kemper, Axe-Fx and Quad Cortex? Or just amp sims?

i fell into a little rabit hole of trying "non"guitar speakers for guitar tones. I found out that in the beginning of guitar amps there were no guitar speakers, they all were "regular speakers" so there is so much more to explore now ... i built now 3 amps and a few weird cabs it is so much fun

Great, informative and very pleasant conversation!...and the course is even better!

This is great man. So awesome to have access to this info . Really appreciate you guys.

Great stuff as always. Already learned so much from you and your top level guests! Can't wait to see what the future holds for this channel and your academy!

Although it’s cliche, thank you for running this channel. You’ve helped me go from extremely basic production knowledge to where I am now at a more intermediate level.

Great interview! Thanks

Another awesome video! I use irs because they’re easy and don’t really require much in terms of microphones and sound treatment for rooms.

G12K-100's, and even more so their precursor counterpart, the G12H-100 from the late 70's and 80's into the early 90's, are my favorite Celestion speakers. Eminence, I like the Swamp Thang and the Guit-Fiddle, as well as the Cannabis Rex and DV-77. I tend to like darker speakers, with 100 W or higher achievable from just one or two speakers. I actually found a boutique brand out of Nashville, TN, USA, called Seismic Audio, and their speakers are my absolute favorite for my own tone. Their Quake 12 speakers can double as a PA woofer when paired with a tweeter or horn, but are really well suited for guitar. They have a very hi-fi like sound, slightly recessed mids, slightly boosted upper mids/highs, and a powerful, yet tight, clear, and precise low end, and can handle 150 W RMS. Perfect for people who like very mid forward guitar tones from Mesa Mark series amps, or general British or German voiced amps, but want the mids to not get overblown, and like a lot of headroom for clean tones. I'm an Orange and Marshall/Friedman player, preferring boosted (usually a precision drive) Orange Tiny Terror/Rocker Terror/OR15/Rockerverb tones for my main tone, and general Plexi/JCM800/Dirty Shirley amps boosted with some sort of chainsaw pedal - I'm a purist, generally preferring an HM-2 or Eyemaster with the gain all or most of the way down and everything else dimed. These are also the tones I like with plugins. When I use plugins, I run them out to a power amp and still mic my own cabs in an isolation box.

I first saw Static-X at Rock-Am-Ring circa 2000 in Germany while they were touring for Wisconsin Death Trip and I was completely blown away by their live tone. It was amazing. So job well done on that.

In my studio and for live performances, I began to take my 4x12s and swap out two of them to use one eminence swamp thang for a doomier trashier tone, and another for eminence's v30 version for a tighter voicing of the actual v30. I call it my hi-fi guitar amp since when they all come together, it covers a wider spectrum. Ive done this with a 70s Ampeg v4 and an Engl 2x12. Both work great.

Great discussion

Right hand really is where it’s at. But not only pick attack but palm mutes and your dynamic choices. String age, gage/tension and the picks matter too, material/composition and the level of wear

I've used a Marshall Valvestate for years on all recordings and I stand by it. There's something about it, for the price range, that is just brilliant. Great Marshall crunch with a lot of clarity. Used to use a 50w head and 4x12 cab, had to downsize and use the 50w combo and I'm still happy with it. Real Amps for Real Tone!

The Mesa quad pre had that dual channel thing going, right? Mixing the clean and distorted sound for clarity. I think that was one of the Dan Huff tricks. 🥰 Awesome, regardless. And awesome interview!

25 years later and that glass of water is sitting on the desk next to the outboard 😅… all jokes aside I love your videos and they are a massive help. Love from Detroit

I always found that I needed to have my guitar gear. I haven't worked in a Professional studio as a musician, but I know a few engineers. I did live sound for years and find it is your sound that is key. But the down side is the dificulty in capeturing the sound. Noise from amp hiss with high gain is not great even with a several gates, hushes, ect. I also like to mix the mic.s down. Speaker and the right hand, because the hand creates the dynamics the speaker reflects. G12-65 Greenback tone, with powerhandling for the lows.

The Dime D100 head also allows you to mix the clean and distortion channels together, cool effect. Real mics, real cabs.

i agree. got old gt85 from th og jcm 800.. love it. also a anniv marsh 2x12 with gt75s..wawwwwwwwww

Hello from Greece. In my opinion, Kohle is the new Andy Sneap. Why? I am not referring to the productions and the tone. But, having the Kohle Academy (that I will soon join), all this helpful information, video comparisons and interviews, I believe that Kohle offers so many things to us just like Andy did back in the day.

Chuck Shuldiner also famously used the Valvestate 8100 on a couple of Death records

I wonder what source material Ulrich is processing through those ART MPA II pre amps. I have one in my studio. I swapped the factory tubes for some Dr. J's. I love it on Overheads, Bass di and Guitar Di coloration. But....the real magick is in the impedance knob. I have a list of all my condenser mics exact impedance from the manufacturers specs. Dialing in that impedance really gives endless options for coloring the sound. I found that the extra voltage will tame the transients and leave extra color on a signal. There is even a high pass filter for dropping some of the rumble from a source sound. Perfect for room mics. It is an awesome DI box for your interface because you can select the output db on the back. I have seriously considered the ART PRO VLA compressor. It's an Opto.

I have five different picks laying on my desk. They make a huge difference, too. The AHM plugin from Audio Assault allows one to blend two amps. It's sick. I am actually going to try blending two vocal signals in real time as my Electro-Harmonix 12ay7 pre has two outputs. I intend to send the 1/4" through analog EQ, overdrive and compression and see how that sounds blended with a clean signal. basically the parallel compression technique

Coffee talk with kohla . Note.. you may be reamped. Loved it thanks man.. im so old school on recording guitars there's cigarette machines in the teachers lounge..lol...

I use and ENGL Pro cab with V30s, but what is different is I don't use the same microphones as everyone else and the sound is quite different. I use Rode microphones, instead of the standard SM57 which so many still use. My Savage head with that combo sounds huge, especially if I mix the condenser and the dynamic together on different speakers in the cabinet. Digital sounds good, but I can hear the difference (probably the way its mixed), even on streaming on a car system. It just sounds like its missing something. My opinion of course.

Personally, i think you have the best content in this field.. KaK!

Totally agree with a lot of this, modern music sounds very generic. I personally really enjoy bands who sound different. Thanks for the vid great as always.

Only sims man for economy, but with a good ir (example Kohle's ir) I can take good results. There are many good amp sims and right amp-ir combination is key of the good tone and record.

First, i wish you an unbelievable good 2023. You are amazing. I have a question. I now got 3 marshalls oversized cabs; mf400a,mf280b and 1960tv. I love to chug and love the tone and playing of josh middleton from arquitects and solosis . Which speaker would you recommend? I don't have the moneys to buy them all but i have v30s , greenbacks 55hz and 75hz, dv77s, cv75, k100s . Thanks you

Sorry this is way off topic, but idk where to ask. What happened to the digital vs vinyl video you did? I was going to show it to someone but I can't seem to find it anymore. Was it removed for some reason?

PLEASE, someday a talk about SINISTER's gear and tones could be a great content i suposse. Happy new year!!!

I agree with you guys in the first part. We are really busy trying to get the same sound as these great bands. But it makes you less unique.

Thanks to Ulrich for stating the importance of the right hamd.

Christian do you have a grindstien pedal can purchase?

I don’t know what fellow speaker nerd in the USA needs to know this, but guitar center has one of the Albion cabs they talked about on the used site for $350 right now.

Interessantes Interview, es ist immer mega spannend tech talk über Gitarren Sound zu hören! Danke, Kohle! See you in hell! 🤘🏻🤘🏻🤘🏻

Putting Slipknot on the thumbnail is overly generous 😅 Anyway, Ulrich is godlike .

albion, as far as im aware.............. were a sound control epiphoone/gibo thing. super cheap , please correct me if im wrong

I just saw A Marshall Valvestate combo for $300 in my local shop

Here's a good one for Ulrich: Why's the guitar tone on the Dethalbum suck? How can I avoid that tone?

They all boosted the 500hz level by 28dB 🤣😅 Okay, I'm beating the joke to death.

The fact that this man has two Art Pro VLAs there says something about them.

I'm doing that too one track one sound

Mein Lieblingsamp, ist der Diezel Hagen, kombiniert mit einer Engl XXL Box.

Ami8016 Albion gotcha

he's absolutely right about how a lot of metal bands are starting to sound too similar, creating this generic "metal" tone.

vs100 with an eq. woft

Guitar -> cable -> head is the mountain I’m dying on. Hardcore club pa’s don’t cater to modern shit

This may be a controversial take, but I feel like the "player makes the tone" response to the amp question is total non-answer.

Guitar pickups are very important as well. Maybe as important as the cab

Albion is an ancient name for the isle of Britain.

Wouldn't say Pantera's guitar tone was good. Great player but that tone was just thin and ugly. RTS sounded a little better, though.

He said something that I have said as an engineer and a guitarist my entire career. 80% of guitar tone is in the guitarists hands. As a guitarist, your playing style ends up sounding best with the gear your used to. Some guys like passive pickups and they FEEL better to them, so they play better and it sounds better. Same goes for amps. I’m really picky about amps and I know what FEELS good to me because my playing has come to work best with the gear I’ve played on and put my practice time plying on. I personally hate the way a Peavey 5150 or 6505 FEEL and in turn sound when I play them. Too much tube sag and not fast enough response and pronounced transients. Other people have brought them into my studio and sounded great in them and when I put them on one of my amps in my collection, they didn’t sound nearly as good as the rig they brought in that when I play, I hate. The first handful of records I produced, I didn’t record DI’s. I put a few mics up and bus them to one track and captured that “moment in time”. Also…I really love a lot of solid state heads. There’s a handful of great ones and I love the fast and pronounced attack.

Pantera’s guitar tone is iconic, but I wouldn’t necessarily say it’s good.

Digital equals spoiled

It really sucks that you no longer upload decent content, and only advertisements for courses.