Відео

Hey I’m using one amp, pedalboard powered by cioks both plugged into a power conditioner and humbuckers and I will get wild hum all the time. What do you think I should try?

I got an ad on a completely different platform for an article on this subject. I hadn't heard of it before, so now I'm here instead of going to that article that was probably trying to sell something. Great video!

Why not sidechain kick and bass with pro-mb?

Great video, and fantastic tone! What's the clean riff being player here? Thanks!

You are a genius!

I thought the stock sm57 works best on distorted guitar because it has more high-end push which contributes to the distorted sound. One acoustic guitar, it seemed to have too much honk in the mids. This was cleaned up by the transformerless version, but maybe too much. The TAB version seemed to strike a balance between the two.

Now if they would just address the clipping issue.

Very helpful. I agree 💯 about the Unidyne. Great playing too!

Best tutorial in patch bays I've seen so far🎉 great work!

wow

I use a boss gt1000 do i need a buffer

Excellent video, thank you! Can you help me understand how it's still possible to have a ground loop in your examples where all equipment is plugged into a single power strip/the same socket?

Schonmal probiert auf englisch zu gendern ? ;-)

🤔🔥Dope vid. Wish I coulda heard the difference with some vocals in this video every time you changed it ! 😢

just curious.. are you selling your LT TB2 ..coz I need it if yes how we can deal it thx you

It almost sounds like you had the roll off on position 1 activated on the vintage one

I'm curious what hardware compressors look like in plugin doctor on the attack release page. Just wondering if they are majorly different to what they say.

What an amazing deep dive down the rabbit hole. Love this

Very good tips. Another one I heard from one of Dan Worrells videos is that you can use Fabfilters Volcano 3 plug-in as a 4 band “vintage” Eq by utilising its non-linear vintage filters

I have to say, every single microphone sounds like a tom, for me the most important aspect of a "tom mic" is the off-axis rejection and coloration, which almost never appears on mic test videos...

Such a great video, thanks for all you do man

This was so good. I will have to listen again. also, your teaching method had me hung on to every word. I did not want you to stop. Well done!

Hey Kendal...Thanks for the video. I just got back into music recently after taking a break for a while. I started listening to the podcast back in 2014 and am glad you are still making episodes. I think I've learned more from you than any other source. This is kind of driving me nuts at the moment and it's interesting that you posted a video about it. I have two pieces of analog gear. I have Seventh Circle Audio A12 (API clones) preamps, and Golden Age Projects EQ - 73s that were upgraded by revive audio. Admittedly I have only used waves and analog obsession plugins, but I think the plugins just can't do what the outboard gear does. If I do the same thing to the API or Nieve plug ins, like push the input hard on the preamp, or crank a frequency up a lot, it'll sound like crap in the plugin and still sound good on the analog gear. I guess that's just anecdotal, but that's my experience. I feel like plugins, at least the analog emulations that I have used, just can't do what analog gear does. What are your thoughts man?

Always very enlightening to watch your videos or listen to the podcast! Thanks! Keep it up

It would be great to get a podcast on vocals on everything from tracking to a full mixed vocals

Love your compositions here. Very good playing.

Long time listener here. I really appreciate your knowledge, experience, and ability to explain things well. Always a treat! 🙏

Please post all of these to the actual podcast platforms. (If you are, they're not showing up.) Can't listen to UA-cam in the car without having UA-cam as the displayed app (which means no Waze). Thanks!

Could expand the predelay and reverb timing I would like to hear more about getting that right in the mix

Best explanation of depth

I always thought the Unidyne had a cleaner smoother sound than the Low Z. This test proved it. The 3k was harsh and muddy. Most people will not know the difference. The highs were not as crunchy as the Low Z. More pleasant to my ears.

Sweet, sweet silence indeed, thanks man!!!

have you noticed a difference in level between the II and the U5 (U5 is weaker than the II)?

Vintage is always better if the condition is good!

I never knew this before. That's awesome.

Hello Spencer, may I ask what tape did you use on your Samson S Patch Plus patchbay? I tried premade patch labels, but the writing space was too small, however your added tape looks like the right size. Thanks you.

The U5 for distorted, The MKII for clean. What roll off setting were you set to with the U5?

Awesome information! Best explanation yet!

Thanks Dude for the video, i'm just switching from pro tools to cubase and your explanations are great !!!!

Nice video Kendall! I had this one pending. At around 3:40 you talked about the "fat" description a lot of people use. I agree, besides there's a whole conversation on which adjectives could better describe & which people use. But I'm not sure if you are already considering this in the video (7 years ago). 3rd order harmonics appear really close to the fundamental one is a bit lower, or even 2nd order harmonics can go under that fundamental with f2 - f1.

The thing with 421's though is they are just one of those Mic's where you could have like ten 421'II's , or U5's etc, and most of them would all sound different. I have four 421-II's, and two U5's. With the II's, I have two older one's, and two newer one's that are from the same batch, and the older II's sound a lot different than the newer II's, and quite different from each other, while the two newer II's sound much closer to each other, but still noticeably different. With my two U5's, apart from Obv sounding much different than all the II's, still sound quite hugely different from each other. So while different versions Def have "a thing", they are just such an inconsistent Mic. I know a dude who said he's had like fifty 421's in his life, and he literally told me that pretty much every single one sounded different. Sounds crazy, and it's not like I'm saying the differences are always so big that a certain model won't still have a signature, and sound like a 421, but there just seems to be pretty huge differences in a certain part of the frequency range, even in the same model. The best way to say it would be that they are like guitar speakers. You could have 20 different V30's or Greenbacks from different years, and they would all sound different, but still sound like that speaker.

Hey! as I can see - you have 2 different mics near the guitar. Why not a similar pair? I'm just thinking about upgrading my mic and have 2 choices 1) Buy Neumann KM184 and use it with my current Sennheiser MK4 2) Sell my Sennheiser MK4 and buy like a pair of Rode's NT5 Unfortunatelly pair of neumanns a too expensive. Maybe for option 1, I could just add another neumann to a pair, but somewhere later. And I'm not professional, just hobby, learning percussive fingerstyle :D Could you advise? Thank you p.s. lets say I can eat few months rice and buy a pair of neumanns, I will heavily use 1 mic, and another will be stored 99% of time somewhere in a box, need it only once a month, when finished new composition and wanna do like achivement - good recording of that 😁

Anybody else get the feeling like you're getting real insights into pro-level mixing here? This is amazing.

I use an outboard gate that gets it “closer” which sometimes I’ll just leave , or I’ll do the manual clipping after, depending. This is a great method tho, cheers!

I do something really similar but I do it with gates and some click samples in Reaper. Duplicate each tom track twice, cut on the start of the transient for each hit (on only the third copy), after all cuts are made, replace each item/region/media on that chopped up track with a sample (I use a printed metronome click but it could be anything...a print of 5ms of white noise?) through the "replace items with media" in Reaper's media browser. Then I use that sample to trigger a gate on each of the other two copies of that tom track. One copy is high-passed and the other is low passed. You can tune the gates to specific times and tweak the hpf/lpf filters. It gave me a bit more predictable result than Fabfilter ProMB. Plus since all the triggering you're doing is coming from that other track you can process and print in any way you want without having to worry about whether or not you can go backwards with the processing.

Thank you Kendal. Excellent. Even step one is a great help.

as always, great work. appreciate you!

This was exactly the video I was hoping you’d do when I saw the title. I recently learned about using expanders for removing cymbal bleed and excited to try this. Appreciate that you put all the settings on the screen! My MBC doesn’t have a side chain so I’ll need to look for a solution. Might be a Reaper plugin that can do this.

Really good methodology. I'll have to see if Studio One has it's equivalent of direct processing

Thank you so much for this precious knowledge that you share with us. Very clear and simple. 👍🏾👍🏾👍🏾