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And if something still doesn’t sound right in post production of course they’re gonna try and improve it there too and they’re not gonna then edit the video and say ‘oh by the way I eq-ed the shit out of this ‘ - all these things add up.
I’m not saying they’re trying to misrepresent the gear, just that this the natural flow of things.
A lot of the time when you do these sorts of videos, you don't have time to agonise over the tone of things. Especially at Rabea's level where you're a content machine. A lot of the time what you're hearing is warts-and-all by sheer virtue of the fact that they don't have the time to make it sound amazing. Stick a mic on it, and call it done.
Maybe I'm super slow, but the ThorpyFX Fallout Cloud video I did took me a full 16 hour day start to end. That's starting with nothing, and ending up with a written and produced song and video, as well as a little bit of blurb and walkthrough of the pedal itself.
You couldn't do that every single day or week without cutting some corners somewhere.
Rabea has a separate guy to do the editing for him btw.
https://www.thefretboard.co.uk/discussion/57776/handsomerik/p1
Presenting unrealistic demos is a sure fire way to not being credible.
Would suggest that your own gear, room, sound preference and ability is more likely to be the difference.
There may be trouble ahead. Dum di di di dum
https://soundcertified.com/speaker-ohms-calculator/
I really like Rabea so this isn’t taking anything away from him but everything he does sounds great exactly because of the production. It’s the opposite of warts and all! So much so, I feel like you’re barely hearing the product. Marshall could send him an MG15 and it’d sound like a Friedman on the video. Companies aren’t paying him all this cash to knock out ‘it is what it is’ demos!
Happy to have my cynicism proved wrong!
More than that would be a problem.
https://soundcertified.com/speaker-ohms-calculator/
First off, they choose demonstrators who are good at what they do, and appropriate for the gear. The "good at what they do" bit isn't limited to being a good player, but also having good production values (and being popular enough to justify the expense of dealing with them). The "appropriate for the gear" bit is critical; Neural wouldn't send a QC to That Pedal Show any more than <Average Pedal Maker> would send a vintage tremolo pedal to Keith Merrow.
No YouTuber out there - particularly the bigger ones - would accept an approval stage on their videos. Putting a video together is already an onerous task; a half-hour video is going to be 10-12 hours of work if not more even with an optimised workflow (including researching the gear, figuring out how to get the best out of it, shooting the main video, shooting B-roll, editing footage from multiple cameras, and writing/mixing any demo songs). The possibility of that being wasted after the fact makes it very much not worth it.
When a demonstrator/reviewer gets a bit of gear for a sponsored spot, they'll also be given the talking points the manufacturer wants to hit on, any notes on usage they might deem useful, and things to avoid. There will also be a clause in the contract for the demonstrator to halt the process if they find that something's not working as intended (or as desired), or if they find that it's just not good enough or appropriate for them to show on their channel. That happens right at the beginning of the production process (the "research" bit).
It's worth noting that this whole process isn't limited to music gear; it's the same for tech demonstrators, makeup channels, whatever. It's a very well-known and mature process.
In short, if the results aren't going to be good enough, the video doesn't get made. Unless, of course, the demonstrator in question is sufficiently big that they don't have to worry about a manufacturer blacklisting them (eg subscribers in the millions rather than tens-of-thousands, like Linus Tech Tips).
Finally...there is always going to be some compensatory EQ for solo tracks, not least because it has to get past YouTube's audio processing more or less intact, but it's largely based on "making the end video sound like it did in the room". And yes, there's always going to be DAW processing involved when fitting it into a mix, but that would go for anything that has more than one instrument in it, and can hardly be a surprise to anyone. The test isn't "how does this sound raw in a mix?", but rather "how does it fit in a mix with all the normal things you'd do with any guitar track?".
They are happy for me to just do my thing. Because they like it. They don't need to micro manage me, they don't need to put words in my mouth, and they certainly don't need to approve my videos.
They like my stuff. I'm guessing Neural likes Rabea's stuff, and they also don't need to be heavily involved in his videos. They trust him to just do his thing.
I think the amount of post processing he does is probably minimal, and the amount of editing he does amounts to pretty much topping and tailing the interesting bits of his performances.
And I doubt companies are paying him "all this cash" - a friend of mine spoke to him about videos in the past, and the price was around £300-£500 per video as I recall. Hardly a lot of cash for the amount of work they take.