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Great video! AS usual you nailed it!

I wonder if this is why some people claim that the secret sauce of the Clayman tone is a cheap Behringer mixer?

@@simonegli9382 the “secret sauce” to clayman is great playing and great arrangements, period. That album mixed itself. There is no secret sauce despite what clowns like glenn fricker say.

I am. Now I think about getting an SE Electronics DM2 T.N.T, to be able to try low impedance myself.

Funny thing, never tried change the impedance, but there is definitely a huge difference! Austrian Audio is really awesome, Sm57 is also very cool, AEA sounds very nice too!

Merci! 🤘❤️

Pretty sure you can't go wrong.

Thanks Billy!

Oh really? Interesting. I almost went for a Unidyne in this video but then I thought the 57 would translate better. Knowing they would perform very similar anyway.

That last thing is very important indeed! Didn’t Steinberg talk about working on a new 121? What else do you wanna know exactly?

Yeah, do it! It’s worth it!

Good comparison!

Im convinced that the pot values is why some ppl argue with glen about the pickup thing

I'm pretty sure there are more reasons.

@@Durkhead Glenn is a public persona, a character, and that's with whom people argue. We viewers don't know the real person, he probably is a really nice guy, from what I heard. I argue with Glenn for example because pickups with different output levels feel different, no matter that you boost the low or mid level ones. That will make the player pick way differently, and therefore it will sound different. But he wouldn't want to hear about feel, though, even making videos mocking the idea. While for most producers feel is key to the performance, therefore to the recording. Pickups connected to different cables or different device inputs will be loaded differently, especially if you use the volume (or the tone); he doesn't cover that. It's instantly changing the way your pickup reacts, in a way you can hardly control. He talks about «scientific evidence», and you can be certain that anyone frequently using those two words referring to their own trials don't know what scientific methods are (there isn't just one), let alone follow them, which include the need of peer review and not taking a confrontational attitude about it, because your claims need to be reviewed each and every time. Science is our accumulation of knowledge, not a method (you don't *use science*), and empirical use of scientific methods constantly challenge the science we currently know (it's the only way to progress). Otherwise I would agree that pickups *with similar construction* are mostly the same, and you can tweak them by tweaking the circuit, something he unfortunately never does -because most probably doesn't have the knowledge, and he doesn't really need to have it, but then please abstain from pontificating, just let expert guests take the stage, and consult with them. The problem with Glenn (the public persona) is he needs to be constantly selling something. Understandable, we all like to have a couple of meals a day, otherwise you can't spend so much time making videos for the sake of having fun, income needs to flow. But then he discovers something new to him, like all of us do, and uses that in a revelation video, then proceeds making a whole freaking series. And that's tiring for those who not only already knew the topic since way before, but have experimented more than him. For example, I «discovered» half a year ago that pickups are also more interactive with the speaker than I previously assumed: I have Ibanez Quantum on one guitar that I didn't play other than for practice because it got lost in any mix, but by chance (erm, mistake) I tried them through a Celestion V-Type instead of the Greenback/Creamback M I would regularly choose, and lo and behold, they finally sounded fine (V30 worked well, too). I proved myself wrong, I only gave importance to the speaker since years ago (way before Glenn discovered it), I neglected pickups are another transducer in the signal path. But I'm not going to make videos stating I suddenly had a revelation everyone should hear, it was probably known by many guitar tweakers before, and anyway it was just an isolated experience rather than a relevant sample, unlike 100 different permutations of pickup/speaker, which would be more appropriate (and, still, it would require to be challenged via peer review).

@@riangarianga im saying that the tone pot values make more of a difference in high gain tone than the actuall pickup most newer guitars have the same tone pot values so most younger ppl agree with him but a lot of older guitars had different manufacters using different values so ppl that have older and newer guitars that swear theres a difference in sound between there guitars because there is a difference in sound but its most likley because of the different tone pot values, I noticed this because of kyle bulls demos they always sound very clear without that monotone static you get with most distortion and he says most of his guitars he changes the tone pots

Yeah, harsh vocals seem to be another natural partner for lower impedance settings!

I haven’t used it, I just remember some of the ART stuff being quite noisy. But that was a long time ago. But the impedance range seems to be second to none! 🤘

Hope you got a little inspired 😩

Unfortunately my ears are not good enough to hear this. After this test I’m using the Audient on heavy guitars in the future.

Don’t overthink it. 😜 It’s a workhorse. Just remember it gets pretty hot so leave some air around it and it will stay a great preamp for many years.

Yes. But it’s important to understand that we’re actually talking about “loudness” and not “peak levels”. The settings I started with had the exact same peak levels which means the lower impedance (maybe due to rounded transients) has a higher perceived volume.

@@KohleAudioKult Thank you for the answer. So you could say, that lower impedance "gives" you more headroom, which could be a good thing at a mixing stage.

@@piotrkubiak8051 Yes. I don't think it makes a big difference in the mix though. It's more about choosing the desired tone. Lower impedance rounds the highs and thins out the lows a bit which can be what you want or not.

I still gotta try this on drums.

@@KohleAudioKult also not forget to mention is the sweepable low-cut on the 880 which is very helpful in getting the right frequencies right at the recording.

Absolutely. Didn't I mention that in the video? The feature set of the 880 is awesome!

The Audient preamps are indeed great! It was actually another comment here that introduced me to the DM2. I wasn’t aware of it. Seems to be a nice way to add different impedance settings if your existing preamp doesn’t offer that feature. The only question is how it might interact with different preamps.

@@KohleAudioKult well, maybe make an a/b in the next vid ;-)

Do some experiments! I still gotta try this on drums. Could be could to switch to the lower impedance when room or overheads sound too harsh.

@@KohleAudioKult Yes!

Which is great for the absolute hifi performance. But that’s not always what you want. I still gotta test their preamps though.

You mean something like a Cloud Lifter? Than that things input impedance will interact with the microphone. So switching the impedance on a mic preamp after that won't have the effect like in this video.

@@KohleAudioKultyes, cloud lifter. Thanks now I understand

🙄 Wutt?

that acoustic riff very calm and warmy btw i love it!

All good buddy! I was just confused by the ASMR part 😵‍💫

Not really. I haven’t done any super nerdy 57 tests, but the differences are very small in general

Some people get very caught up about the old vintage American made SM57's but I have found that rhe modern Mexican built one is very very close in sound to a good functioning vintage USA model. Older mics can be affected by age though, drops as well as spit, storage methods and just time can cause a mic to sound a bit or a lot different than it originally did. Capsule materials can harden and internal foam rots and can either disintegrate and disappear or clog things up depending on exactly the type of conditions that particular mic experienced over the years. The easiest route it to simply buy a new 57 and have the confidence (as you should) that it is a great mic that won't be the thing holding you back from getting great recorded sounds. The other path is chasing the old vintage ones like a quest for the holy grail. I've owned and used quite a number of newer and older 57's over the last few decades and I'd say just buy a new one and focus on your playing and recording and press that 300 ohm button on a Neve style micpreamp.

Everything matters more or less depending on what you wanna achieve. Absolutely!

Looks like you’re exactly the guy I did this video for! 🤘

None yet!

The Mike-E is great. But so far I was only using it for the compressor.

@@KohleAudioKult I think you will be pleasantly surprised by the way it matches the SM7B and probably the SM57 as a preamp.

After this test I have become a fan of something way lower for heavy guitars.

@@KohleAudioKult I’ll have to revisit this, I’ll be honest it’s been awhile since I’ve messed with the 300 ohms setting with a basic 57 on a 4x12 set up. I remember it being much brighter and thinner at 300ohms but again in all fairness, maybe it’s time to revisit it!

It should rather be more mid-forward. But yeah, we all need to revisit certain things after some time.

You gotta be quick these days 😩

@@KohleAudioKult I forgot to mention thank you for this video. The info will come in handy.

Great to hear that! Thanks.

The classic ISA impedance is 1400 ohm.

Thank you so much! Most RU-vidrs are simply not audio professionals, even if they have big channels. This channel is based on making records and I care about details!