Lemmy on choosing a bass: "The shape. I’m all for the image-always. If you get one that looks good, you can always mess with the pickups if it sounds bad."
maybe thats what he says for the public ,but in priv i dont know , i think rickenbakers are ugly ! they sound good however , rip lem you are greatly missed
Re: Singing lessons. This goes for harsh vocals / screaming as well! I've been working with a vocal coach for some time now and the more technique I learn the more I notice how bland many performances are. And this absolutely doesn't have to be, you can do so fucking much, but oh god is it work to be able to do that. Voice is an instrument, and to be good at it, there is only one secret ingredient - go fucking practice.
Being dynamic vocally is probably the easiest way to stand out at least on the local scene. Let others hop onto your bandwagon instead of copying somebody else. That's how sub genres are created.
@@SophiaAphrodite You can be out-of-key with screaming as well. Easily, if you do frys. It's a bit harder with false chords as they are much more rhythmic than melodic, but still *possible*, and you will hear it. One doesn't have so much to do with the other, if you're out of key, you suck, no matter what style you prefer. And I strongly reject the "it is why most bands" claim. Growling, Shaping, Accentuating is something that needs to be learned and practiced. If you don't practice, you suck, regardless of your vocal style. I don't find clean singing particularly harder than screaming... just different, with different objectives and a different learning curve. It is, however, easier to hide behind bad screaming than bad singing. As long as you take your craft seriously and go fucking practice, you'll be fine either way. We can settle on "Practicing is an underrated skill. It is why most bands have growling screamers".
If you want to make a living with music, then you have to go out there and constantly make music, teach other people how to make music, take wedding gigs, etc. The key is to be an entertainer and an instructor, not just an artist. Give people what they want to buy, not just what you want to sell. And keep doing it, every day. Don't expect to have string of hits that everyone will cover and bring in royalties. If you want to make a living at making music for people, then making music for people has to be your job.
Indeed!!! I am on the same path where I am playing cover gigs at wedding, corporate parties, and much more while writing original music. AAAND I'm teaching on top of that. You can't just be creative musically, you also gotta be creative business-wise. Some other folks who I know personally are doing fairly well with original music had a lot of stuff going on behind closed doors which they will never EVER share (and it ain't pretty).
I think I went to see a band called sub zero here in Finland some 20 years ago. It was a small pub with maybe 4 or 5 customers (me and my friend included), the band members looked like they were 13, they played like shit, but I was drunk as hell and they had a huge rockstar attitude. One of the best gigs I've been to.
I've had some online discussions with cab builders. From them I've learned that as long as the guitar cab is sturdy the speakers make the difference. When it comes to full-range, subs or bass cabs it's a combination if speakers and cab design that need to work together.
Not going to deep into it, As long as the cab is stiff and has a low resonance frequency (best if it's below the lowest frequency being played). It is the air volume of the cabinet that matters. A given driver will perform very differently depending on the volume of the box it is in. The volume of the box is not just it's volume if it is vented; the vent adds to the volume of the box. There are some other considerations about standing waves and resonance inside the box, depending on the frequencies being played. But that is fine tuning compared to the volume of the box. Matching a driver to a box gets fairly geeky pretty quickly. If you want to know more look up Thiele Small parameters in wikipedia. You will need good math skills to understand some of it, but over all the descriptions are pretty good.
When I was around 19 or 20, my classical guitar teacher invited me to sub for my bass teacher with him on a major (on a national level) pop project. At the time I was studying robotics, my parents were demanding better grades and thus I told him that I was going to focus more on University and the little time I had for music I was going to focus on my metal band. Do I have a better pay check in robotics? Fuck yeah, even got a raise during the pandemic. Am I REALLY happy with my decision? The fact that I'm telling this story should be answer enough
Just wanted to say, whenever I’m sad you always seem to be able to cheer me up in your videos. You talk a lot about how people should do something unique, maybe you could make a video on how to have a sound as a band (that doesn’t suck).
Rule 1: Don't suck! Rule 2: Leave some suck for the next guy on the stage! Rule 3: If you suck, turn down the suck knob! You're welcome, that'll be $69,420 ;)
I would think it depends on the intended end goal. Fieldy’s floppy bass strings provide no tone, but are very percussive in a metal mix. However, a thicker string gauge would get closer to the piano string sound. Thinner gauges can add more bass (according to the tests I’ve seen), but that might get EQ’d out of a bass heavy metal mix. It might actually be a productive test.
Dedicated my life to music from the age of 14-42. While some success did come, it wasn't ever enough to pay for living a comfortable life. Went back to school, got a graduate degree and now I'm living more comfortably than I ever have in the past. Looking back, I wouldn't change a thing. A life well lived is about the journey. My journey, while filled with hardship, has been a blast.
Don't care if you air me. Just wanted to say thank you. I just started learning guitar, bass, keyboard, and recording at age 57. I love your approach. Love your knowledge and am learning a ton "I hope" lol. SKAL! to you sir.
Glennn!!!! Your my saving fucking grace right now! I was not supposed to work today; however, they through me on gate watch your video is saving me from boredom.
On the band photo issue: yeah, I'd also love to see that. Both for pictures in the studio (which can help promote the band by showing "work in progress" on social media) and that single band photo that goes on the Spotify artist page and Metallum.
There are people who do play Christian rock and Christian contemporary music who are not believers, just as there are pastors in churches who aren't believers. There are probably more believers playing in secular bands. They don't preach from the stage, but they do believe in God and they are happy to share their life-changing events with others at their seminars. There is no way to get rich playing Christian music. It's a hypernitch market where the radio programming is geared towards the teenage female and soccer mom. Most of the success is in international markets where Rock is stronger.
No but there is a lot of money in treating musicians like crap and witholding pay, which is exactly what happens to 90% of CCM artists. Ask Katy Perry.
@@rahulmenon4357 This is false. Not 90%. Katy was nobody in the CCM market. Technically, she wasn't signed to a real label. It was a pimple on the big dog's rear. Anyone can get a bad deal. That's the fault of the artist. Nobody forces them to sign. Secular music is FULL of household name artists who have controlled their business well or didn't. You don't hear anyone successful complaining about the industry. The problem with Katy is she didn't really believe what she was selling and we all can see what she really wanted. She wanted to be an idol.
@@brenthandycts131 Yeah but my point is that 90% of the music industry (secular, CCM, Hindu hate speech EDM etc) as a whole fits your description of her label. Only management gets paid. Artists are lucky to see 5%.
@@rahulmenon4357 It's STILL wrong. Sorry. I have toured as a FOH engineer for multi-platinum, GMA, CMA and Grammy artists secular and Christian and that is just not true. Again, if the artist has no success, no audience and no market awareness and they can't make back the amount of money loaned to them, then that's on them. BTW, deals aren't made like that anymore, unless you have a huge green tree already. This is the era of the 360 or DIY.
Glen, I’m interested in seeing you test how much adding weight to a bass or guitar actually affects tone or sustain. I know that a LOT of bass players will make add high mass bridges to their basses, and many guitarists credit the full tone of Les Pauls to their weight. I think it should make a difference based on the physics, but I’m interested to see if it’s a perceivable difference in a real world application.
If it is a solid body base then I wouldn't expect much change in tone, perhaps less high frequency resonances from a bridge with more mass. But the pickups are turning the vibration of the strings into electrical impulses. In a solid body there is very little sound introduced from the body. If the neck isn't sufficiently stiff that causes changes in sound. Mostly making it hard to tune or keep in tune. If the guitar is a hollow body then the pickups are getting the resonances of the body. A hollow body electric is acting like an acoustic instrument. But solid bodies are just there to hold the electronics. Just my 2c without trying it out. But I to would like to see people cry about this one LOL.
The mass of metal is far denser than the mass of wood so while a high mass bridge can affect sustain its very unlikely that denser wood will. However, many players are duped into thinking that feeling the wood resonate when they play equals more sustain through an amp. For bass, add a compressor with medium attack and slow release and you'll definitely get more sustain
Interesting thing is that there aren't many videos on Y T in general that talk about marketing metal or other kinds of extreme music, it's usually just how to market pop or industry trap. Not many ppl who love extreme music want to go that same route with marketing in their own genre. It would be educational to have actual fans of extreme music speak on the nuances of marketing to extreme audiences. Love your channel, cheers
Nothing is better than falling asleep To this guy screaming while RU-vid plays his videos for hours. I’m starting to have nightmares about my guitar tone and my mixing headphones.
Hi Glen, and F U :) Trained teacher here. 7 years of higher education to be treated by crap by literal children. Being a teacher today is nothing like it was 20 years ago and I cannot stress how much I regret getting a teachers diploma in stead of studying music. Yes, I would probably fail at it, but I would still enjoy that journey more than this “safe” career in teaching. Oh well, only 32 more years until I can retire. It IS better to burn out than to fade away…
We played 1997-2001. But with the lockdowns, we have resurfaced lol Recording on a cell phone in our living rooms. We might not tour, and work in factories...but it's awesome to record again and lay new tracks :) boring by work week... super by day off!
The hardest part of becoming successful is to create something a year in advance that, when it is released, sounds like the wave of the future. If you can pull off that musical time travel, you can write your own ticket. Provided you don't get screwed by the other band members and/or your label.
Can't wait to see the five hours of bloopers in an online reel. As a voice-over artist and former actor (gave up acting to focus on my passion for making music), I love the blooper reels most. I think I find more inspiration in those than in the intended content. Happy Frickerstag.
@ 17:05. I found that creating an interesting photograph comes from the imagination. For me, I think about it before I shoot. I had this idea for years, before I even started photography to create an image for a solo artist who plays multiple instruments. I like to do things in camera as comping usually just looks fake. So I experimented with slow shutter speeds and changing instruments fast. Finally, I came up with this idea to use kids who could stand hidden behind the artist (me in this instance) with a keyboard and drum sticks with the main individual holding the guitar. It took minimal set up time as I had preplanned the whole thing. I experimented with light, slow shutter speeds and lasers to get some wicked guitar shots that I now sell all the time. I can’t compete with all the expensive gear out there but I can compete when it comes to imagination and experimenting with ideas. After all, getting a good looking photograph isn’t hard these days but creating an interesting one takes some imagination and thought. The shot in question became an album cover (my profile image).
Hey Glen I'm a cabinet maker from Pittsburgh how about a shoot out with mdf, ply wood ,and solid wood One built slopy one built like any other cab one dove tail glued screwed and reinforcement strips I wonder if any of them will sound any different 🤔 your tests are realy showing its mostly just the speaker. I mean at the volume of a jet taking off I would be shocked if the mic could hear anything other than the speaker when the mic is only a few inches from it love the show keep up the good work
This might be a challenging thing to test, but is there really a huge tonal difference or functional advantage to playing a guitar with a bolt-on vs set neck vs neck through neck design? People say bolt-on necks give a “snappier” tone, and that neck through gives the best sustain and projects the “tone” of the wood best, but of course that could all be BS. If you have any thoughts on this, please share ‘em!
The church music statement is so dead wrong. As a guy in the actual know…that industry is not only closed by major labels, but the club running the show is even smaller and less inclusive than mainstream music because all genres are tied to the same radio/distribution sources. And the crowd is older, so familiarity a premium. It deserves to be ridiculed, but don’t sound like a dipshit when you do it. Glen needs to stay in his lane.
When matching a speaker to a cabinet, you need make sure that internal volume of the cabinet matches the design spec of the speaker. The volume of the cabinet will change the resonance frequency of the speaker. If the 2 cabs you tested don't have the same internal volume or one is vented (vented boxes have a different volume depending on the vent size/type). Then you can expect the same speaker to perform very differently. To do these simulations you need the Thiele Small parameters (TSP) values for the speaker and to know the volume of the box you are putting the driver(s) in.
I just had a thought. We all know the Line 6 Spider sounds like shit, but what would happen if the speaker was swapped out for any other speaker. Would it have the same effect? I have a Spider 4 and if I can change out that speaker to get better recordings, I would gladly do that!
That's not the only reason it sounds bad, there's an old crappy DSP that makes it sound lousy as well. Speaker replacement should indeed improve the sound, but I still doubt it will be usable for a release. The thing with modeling amps like this one is their models' impulse responses are tuned to use with stock speaker, installing something else may screw up the frequency response really bad, there's a good chance that you will get undesired bumps and dips in your spectrum. However, you are free to temporarily swap the speaker, see if it helps, and do a video about that. I'd definitely be in if I had a Spider on hand, that's a fun thing to do regardless of result.
Hey Glenn, on your bit about 'Copyright Infringement? Unlikely', another thing to remember is that the thing you name yourself after is going to get all the top hits on internet searches. You'll be somewhere on the second page if you're lucky. Take my music project name for instance. Named it after a favourite book, and guess what? Internet searches for Lathe of Heaven come up with the book, and after that the film. I don't get a look in until after all of those returns. LOL... regretting the choice now!
GLLLLLLEEEEEEEENNNNNNNNNNNNN!!!!!!!!!!!!!Can't wait to see those singing courses! Definitely need singing lessons myself. Any time frame as to when those will be out? As always, greetings from Warren, Ohio!
Funny looking at the Faith + 1 cover after you did the 13 ways your band photo sucks video. And the way Cartman broke the pic down in the episode was almost the polar opposite of your advice lol.
Ha! Glenn, on Christian music: I grew up in a strict "Christian" home, and even had to beg to listen to anything other than strictly church music -- including having to demonstrate that it was Christian "enough" to still be allowed to listen to it. And I can tell you that the comment is so extremely spot-on! While yes, there are some bands who only market to Christian audiences with some real talent and never leave, a lot of them are also fairly shitty. Of course, rumors abound that this- or that- band isn't "really" believers, and just play music with "Jesus" in the lyrics because -- especially when I was a teenager -- rock and anything heavier had fewer and fewer "Christian" options, which basically locked in your audience: anyone who wanted something heavier than nasal-voiced alternative, back when. Looking at a wider range of genres, and it quickly became obvious, too, that some bands were using a captive audience for basically guaranteed album sales for what equated to an attempt at resume bullets (sales numbers, several awards, plays on the radio, at least some kind of chart's rankings, etc.) and then attempt to cross over to secular music. Of course, there were some catastrophic public failures, like P.O.D., who I thought had been improving themselves with every album (despite being rap metal ... ha!), and then Boom! They cross out of Christian music with their debut single and album, Satellite! Way to shit the bed, guys! It's like a guaranteed paycheck! At some point I went back through my old music collection, and couldn't believe the absolute tripe we used to blast in the car back in the day!
I love you, Jesus I want you to walk with me I'll take good care of ya, baby Call you my baby, baby You died for my sins And you know that I would die for you, right? What's the matter, baby? You're tremblin' Jesus, ba-baaaaaayyyy Your love Is my light You know when I'm without you there's a black hole in my life Oh-oooh I want to believe It's all right But I get lonely in the night And it's up to you to save me Jesus, baby - Faith+1
You can knock on a cab like a front door and either they sound hollow and will resonate more or the opposite the knock will sound tight solid and quieter and probly throws further.
GLEEEEEEN, totally disregarding the video. I play in a post-metal band and have a dark-ambient project of my own as a hobby, on day-to-day basis I work as a Sound Designer in gamedev and whenever I got time to actually listen/watch to something during work I usually jump to RU-vid to lurk around if you posted any videos. I totally agree on most of your points and huuuuge thanks for all your effort to put out some nice tips for us. One idea to consider for how-to videos to help out those younger bands who really have some aspiration: What sort of equipment it is worth to invest and for what sort of software it is worth to invest. For example I am constantly upgrading our equipment in our rehearsal room, mostly spending money that our band managed to get from shows and our merch. Apart from hardware for now we have a Behringer XR-18 mixer, 2 SM57s for guitars, AKG D112 for kick. Each one of us have their own in-ear monitoring system, I use my personal MacBook Pro with DAW for recordings, software synths, etc etc yada yada yada. What sort of equipment would you recommend to people for their rehearsal spaces?
I keep hearing about the Jazz vs P bass debate and my favorite Bass is a Fender Precision Special which has an active split and jazz style pickup. If you look at Fender sales records you’ll find the PJ Bass is their best seller.
I have a Marshall 1960 cab with two v30’s and two G12H75’s in a criss cross pattern that sounds killer. But killer tone is sometimes in the ear of the beholder.
My VERY unique story about vocal lessons proves that they help, even if you only do it for a short time. I am trans. I was a pretty good singer with a good range for a long time but I really did not understand technique. When I decided to transition I wanted to still be able to sing but in a different timbre and I wanted to push my range up higher. After about 12 lessons I added a half scale to my range and made my original voice twice as powerful and more resonate. I really should do a video on what I used that worked and how this not only affected my signing voice but my talking voice, which is a scary barrier being trans. Vocal lessons work, just like any other lessons. Let the experts tell you what to do and just DO THE WORK!
I've had two experiences with G12T-75s. The first was hearing them in a Madison cab we bought off Facebook. It was in a 4x12 configuration with 2 Celestion Classic Lead 80s and we just didn't like the sound at all, even when we tried the speaker pairs out separately. Really meh. Then, a few months later, we buy a used Marshall 1960A for a stellar price and my guitarist LOVED the sound. Turns out, full 4x12 of G12T-75s. He didn't stop talking about that tone for weeks. It really does sound fantastic. Just shows how different cabs treat sound; one cab might make a speaker sound boring, or forgettable, while another really makes it shine in a way you didn't expect. I'm a believer in those G12Ts now
Just started putting together my own cabinet. Using an oversized 4 x 12 cabinet and converting to 2 x 12 and 1 x 15. I'm interested in seeing what it does with my randall head and maybe the bantamp.
I love the discussion on speakers lately. I got a bug up my ass and scored a set of G12T-75's from a 2000's Marshall 1960B JCM900 cabinet. I was all set to swap them out of my Behringer BG412F, but sadly I don't have any 16 GA wire. All I have is 18 GA.
Type O Negative was once called Subzero, and they changed the name to TON after discovering another band called Subzero. That was way before Mortal Kombat. Dudes should probably choose a different name. Probably shouldn't go with Scorpion.
Glenn, you mention that Tone is in the Speakers, Microphone and Pickups. To prove this, I own a 2020 Epiphone SG with the Maestro, I always thought the Neck Pickup sounded Muddy, I raised the pickups by a whole 1mm and the muddy nature of the pickup vanished. Thx for proving that Tone doesn't come from the wood of the guitar like so many love to spew before.
If you need a great example of *unique* modern metal, check out the band Twelve Foot Ninja hailing from down under. Interesting musical concepts, excellent production & memorable videos! Plenty of new metal bands are starting to occupy these more fusion-oriented genres & I’m positive that’s where the future of metal is headed.
Talking about calling your band a trademarked name. There was a band in Japan called "[Champaign]" and had a good 2-3 years to start their career with 2 albums. Then the French government heard about them and as its a protected word due to laws and stuff, France told them to change their name despite their growing popularity. After a change to "[Alexandros]" they've had no issues, but did write a song lyric talking about being forced to change their name. Goes to show you always have to be careful as it might not be something from your country who wants to say your name needs to be changed
All paths are difficult: So very true. Do what you love and maybe starve. Do what you hate, but get the bills paid. Musicians have more than one avenue. We can do what we love and not be broke, we gotta just figure out how. Asking for help is not something people should feel shame for! No one truly works in a vacuum.
Gleennnnn! Spent the last 18 months watching your channel, learning and taking your advice. Don't record Metal but I took the principles. Went from demo grade rubbish mixes to learning the fundamentals of mastering. Mastered an EP of a friend's band to practice and they were that happy they are considering whether or not they need to get it re done as planned. Probably a reflection of them being cheap mothers rather than my skill, but the point is I wouldn't have got there with this channel. Thanks
F-stop and Aperture balance ... Yet, one thing I never did with my DSLR was white balance it. It would be interesting to see and hear about your experience with photography, Cheers Glenn.
Seismic Audio has a 3 x 12, IIRC, or at the very least a 3 x 10 with a horn tweeter. Pair one of those with a 2 x 12 or a 1 x 15, and it might hit harder than the police violence going on in Kazakhstan. VERY NICE. I LIEK. Honestly, I'm surprised more people don't use a bass cab in tandem with guitar, especially with downtuned or extended range instruments. Also, you'd be surprised how many old albums have bass recorded through a guitar amp, either by itself or as a layer over their bass amp.
An evangelical Christian fundamentalist friend of mine explained, in his words: "Christian rock is literally required to suck ass. The music cannot be what makes it popular or famous. It has to be about Jesus. Once the music is good in its own right, it no longer serves its purpose." That kinda explains a lot. On the trademark issue: Trademark is about "confusion in the marketplace". Calling yourself "sub zero" is one thing. The game company doesn't market a lot of music under that name. There is "daylight" there for someone to carve out their own identity. How much? Is it enough to survive on and avoid a lawsuit? WHO KNOWS. But if you want to call yourself Sub Zero and wear a blue ghi with your face half covered by a black mask and head wrap YOU'RE GONNA HAVE A BAD TIME. You can't adopt the MK character "Sub Zero" as your persona. That's just asking for trouble. Very few brands are what you call "Famous" -- like "coke" or "pepsi". Don't f- with those people. Don't F with Nintendo or Disney either. THE MOST IMPORTANT bottom-line rule for trademark: You can easily go bankrupt *successfully* defending your right to use a name. Trademark and copyright lawsuits are brutally expensive.
So, for a “pop” metal genre, perhaps a “Black Norwegian Jimmy Buffett Pirate Death Metal”…😉 I love your channel and play in a Jimmy Buffett cover band…thinking of a mashup…lol
I have an unusual rig. BUT it's still running through a 4x12 cab. MY cab is an old Carvin, but it has the G12S50s in it. I've heard that they are not as scooped as a V30, or as loud (strangely). But it's a 200w handling cab. They REALLY rock for a guy like me who's trying to sound like Dokken meets Metallica.
The Gear Market is insane right now. I was trying to hunt down a Twin-Reverb just to have in my home studio, and I regret not pulling the trigger when they were sitting around online used for 650, well over 1k now in my area. It's not just amps, it's everything on reverb + the marketplace. I'm sure the supply line disruptions, as well as inflation have a lot to do with it. It was hard enough getting gear before the pandemic, and now it feels damn near impossible.
I bought an axefx ultra for $500. I'm using it as a send/return so I can send anything I want thru it. some of the reverbs sound really great on vocals.
Very curious what you'll think about the Black Label speakers - I love them and the 12L's. You're correct, the Black Label's are Zakk's signature drivers and my understanding is they are overbuilt 12L's. They sound fairly balanced - the BL's being a bit more scooped than the 12L's. They both handle low end unlike any speaker I've ever heard. Massive sound.
yes, but every modern metal band has to ensure each moment is 'brutal enough'. like they're dethklok, not realizing that show is making fun of every metal band that does that.
I'd love to see an episode about the Woods of Ypres albums that you worked on! You're totally right about Summer's Envy having pop elements in the song writing, I had never realized that
Is it odd that I'm not really that much of a metal guy, but I love watching the channel? I grew up on 70s and 80s rock like Def Leppard, Pink Floyd, Scorpions, Dire Straits, listened to bands like Megadeth, Metallica, Sepultura, Pantera and the likes, in the early 90s, along with Nirvana and Green Day, moved onto Alternative Rock, like Smashing Pumpkins and Bush, listened to Ska/Punk, like No Doubt, Goldfinger, Bosstones, NOFX, was heavy into Rage Against the Machine for a time, then to moved onto Blink, Unwritten Law, Bad Religion, and got into emo/screamo with bands like Taking Back Sunday, The Starting Line, The Used, Hawthorne Heights, then got super into The Beatles. In more recent times I have written music more akin to pop music like Weezer, The Cars and some heavier stuff akin to Muse. I will pretty much listen to anything with a good melody that isn't super repetitive. I feel like the channel can speak to musicians into any genre for the most part.
I wish I could take a band photo standing on RR tracks, but all the tracks in my neck of the concrete jungle are electrified by either third-rail or overhead catenary cables. (Not to mention the amount of train traffic that would run us over dead if we survived the lethal high voltage.)
I've been fortunate enough to live mix some upper level acts myself (Quiet Riot, Saving Abel, Head East, couple more) and you're so right. It's not just something people say, when you have a great band, the mix just comes together so easily. Even with all the stuff in the mix for the Head East show, it just sounded so clean with minimal effort.
We began recording an EP all by ourselves (only two of us, cause...power duo) and we started by recording drums. Even though I brought skeleton mixes in order to give cues to my drummer he went playing with a little delay. I mean the beginning of the song was correctly in time, but when you reach the end of the song there is about one second past the time aligned rythm I recorded for him. He was so sorry for that, but I was ok with the idea : I will record my guitars and my vocals according to him and his groove, because we are not playing to a fucking machine metronome. I mean, this is also what makes music : breathing. And so long for the two in the back who will criticize and say "oh it's not quantized, you should do it".
6505 and 6505+ are in a shortage right now. If you look at the major retail stores, a lot of the 6505s and 6505+ are on back order, so if anyone is trying to get one of those ASAP, they have to go to the used market which has responded to the supply shortage.
Any chance of a video on gear maintenance? Store guitars you don't play with no strings, store drums with out heads. I have no clue. I fully disassemble my kit and clean it. Clr to stands, steal wool polish chrome, oil gaskets, grease lugs. But audio gear with fans, guitar pick ups, how long does the accoustic insulation last (home insulation degrades and sinks.) General important things that don't seem to happen. Do you deep clean your studio and gear?
Plywood cabinets are for working musicians. Being slammed in and out of vans, and venues beats them up bad. The MDF cabs with great speakers are fine for recording and light gigging. They don't hold up to the abuses of the road.
