Dude you have videos on almost every subject, whenever I search something, I find you! And every time it is really unique. Thank you for all this awesome content!

Such a good video!!! Nice effect but the whole video comparisons just make it perfect!

whoever the artist is i think theyd been listening to spirit in the sky quite a bit lol!

I've used a harmonica mic to get my amp distortion running through my favorite Pignose. I position the Pignose across the room about ten feet while positioning vocalist between two ribbons about one foot from each cheek. The the ribbons become my stereo image but the vocalist holding the harmonica mic gives a more passionate performance making the whole think electric. Doing this means I have to make some engineering decisions before I press record here. But that ultimately speeds up my mixing process since I already have the sound shaped. I haven't tried isolating the Pignose and capturing that directly. However, with the 101 sounds of that amp I'm confident I could get something impressive if I did close mic it in another room.

Wicked, been waiting for this!!!

I love hard rock, garage rock and the blues.

I'd love to hear this with the same mic setup but 2 amps about 10 feet apart being fed the same signal. could be a really nice stereo dirt layer to envelope that centre dry vocal!

Sick video x

Sounds kind of like Black Rebel Motorcycle Club.

The effect when wet sounds almost exactly like 21st Century Schizoid Man’s vocals

Great video, I have a question though, when you're running the signal through the re-amp to get your ribbon mic signal, is it possible to have this hooked up in real time? What I mean by that is, do I have to record all my dry vocals first, and then re-amp them for the distortion signal, or can I be recording in real time and getting a dry signal AND a distortion/affected signal?

Great sound. Very interesting rig.

Reamping in a small bathroom works quite nice also ;) Do you prefer Faulkner or Blumlein? Great content as always!

how tto make that effect using only DAW and 1 mic?

I bought the Seymour Duncan Twin Tube Classic used for 90 bucks back in 2008, and discovered it to be the best *clean-boost* I ever used in front of almost any amp, but I wasn't crazy about it for actual dirty sounds on a clean amp, so I found a barely-used Twin Tube *Blue* for about 100 plus 20 shipping. I liked it more for dirty sounds on both channels, in front of a clean amp OR in front of a slightly crunchy amp with the pedal set slightly crunchy and the pedal volume set high to push the amp harder. I also like the Blue for a second tandem-track for bass next to the clean bass track. However, I *REALLY* got a little ..... (clears throat) *creative* one night when I was up late and feeling (clears throats again) *creative* ..... and started experimenting with both the lead and rhythm channels of the TT Blue behind a compression pedal with an old analog slap-echo pedal at the end of the chain or between the compression and the TT Blue (so the dry would be a little dirtier than the repeat if I wanted it). I even threw in a Boss Super-Chorus and used it in stereo with the effect level set subtle, just to make it more of a wide stereo vocal. I wasn't even re-amping the vocals out, I was just putting an XLR to 1/4" cable on a dynmic mic and plugging it directly into the compression pedal (Roctron Big Crush). The kind of wide stereo dirty analog delay psychobilly vocal effect actually has become a staple now. I don't always use the TT Blue, but I often use the guitar pedals for my compression and echo, they just have a warmth to them that would cost 10 times as much to get out of dedicated studio rack gear. I like these sounds better for any kind of melodic-screaming or raspy singing than what I get with rack gear or software. I also like using certain small combo amps for the type of thing you did here, and specifically ones with spring reverb or tremolo built in. It just makes everything come out sounding less like a production, more like a performance.

The delay really smoothed things out. The overall effect added just enough grit. Can you explain which signal you hard panned at the end? The clean one or the room effect?

So are the room mics BOTH delayed 100ms from the Dry vocal? Or is one room mic 100ms later than the other Room mic?

Do you put a re-amp box between the 1176 and the amp?

sweet information here - any guessing or knowledge on how Al Jourgensen created his distorted ministry vocal sound ?

Why mess up your recording when you can just do it in post? Seems like limiting your flexibility and options.