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Advanced Drum Production

Lesson 40 of 52

Bonus: EZDrummer - Part Writing Q&A

Eyal Levi

Advanced Drum Production

Eyal Levi

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Lesson Info

40. Bonus: EZDrummer - Part Writing Q&A


Class Trailer

Day 1

1 Class Introduction 21:53 2 The Tone Pie and Process Overview 13:35 3 Getting the Lay of the Land and Q&A 32:58 4 Assemble Your Gear 14:34 5 Drum Tuning Part 1 33:56 6 Drum Tuning Part 2 39:49 7 Fine Tuning Tones Part 1 35:29
8 Fine Tuning Tones Part 2 54:24 9 General Guidelines of Tracking Drums 32:27 10 Tracking with Sean Reinert 32:50 11 Pop Quiz 17:57 12 Basics of Superior Drummer 30:00 13 EZDrummer vs Superior Drummer 25:32 14 Constructing a Metal Drum Kit Part 1 41:09 15 Constructing a Metal Drum Kit Part 2 26:14 16 Constructing a Rock Drum Kit 38:03 17 Grooves and Programming 14:33 18 General Q&A 18:31 19 Prepping Virtual Drums for the Mix 37:16 20 Superior Review with Q&A 22:01 21 Intro to Mixing and Drum Clean Up 33:13 22 Interview with John Douglass 25:00 23 Intro to Drum Editing 21:32 24 Manual Editing Approach 15:30 25 Editing with Beat Detective 16:46 26 Editing with Elastic Audio 29:16 27 Sample Layering 20:14 28 Replacements 23:13 29 Gain Staging and Bussing 15:45 30 Mixing Essentials 32:06 31 Compression and Parallel Compression 13:22 32 Reverb and Automation 28:18 33 Mixing Tips and Tricks 26:53

Day 2

Day 3

34 Bonus: EZDrummer - Introduction 17:38 35 Bonus: EZDrummer - Intro to EZDrummer 14:47 36 Bonus: EZDrummer - EZDrummer Foundations 29:30 37 Bonus: EZDrummer - How a Drummer Plays 19:51 38 Bonus: EZDrummer - Part Writing Part 1 32:54 39 Bonus: EZDrummer - Part Writing Part 2 29:35 40 Bonus: EZDrummer - Part Writing Q&A 10:21 41 Bonus: EZDrummer - Intro to Grooves 13:48 42 Bonus: EZDrummer - Writing from Scratch 26:49 43 Bonus: EZDrummer - Intro to Fills 20:51 44 Bonus: EZDrummer - Writing Fills 27:20 45 Bonus: EZDrummer - Mixing in Your DAW 14:13 46 Bonus: EZDrummer - Bussing and EQ 25:36 47 Bonus: EZDrummer - Compression and Reverb 18:26 48 Bonus: EZDrummer - Conclusion with Q&A 12:30 49 Bonus Video: Editing 1:07:00 50 Bonus Video: Toms and Cymbals 29:02 51 Bonus Video: Snare Midi 32:26 52 Bonus Video: Kick Midi 20:35

Lesson Info

Bonus: EZDrummer - Part Writing Q&A

You're doing this totally manually by punching him all in but couldn't shoo in theory take the hi hat pound from the first beat and just change the symbol definitely could your time about this pattern right here? Yeah yes you could but since the velocities are already they're completely different then what I wanted um it's for me personally it's faster to do this way that's not to say that I couldn't do that yeah, I could definitely just drive that down and then alter the velocities but I was also wanting to make sure that I had the right subdivision in mind, you know? So yes, what you're saying could be done um it would be as easy as just bringing it down to there and then you have your velocities here and so then you just go according that's an opposite pattern and then when you're doing this well yeah, it wouldn't work yeah so it's you know, you could definitely do stuff like that it's just faster for me and cases like this to just wait we are going to get into phil writing pretty e...

xtensively um in the next segment and that's basically just about what's left on this, so if you guys want to go to a q and a, I'm totally cool with that if you asked, you know, if you feel like the point's been made about how fast you can put together a song with this that's what this was all about it's like you see that within a now our or so uh less than an hour because of first show you guys how the plug in is laid out and then show you what I already had ridden starting from scratch already kind of have a song billy with the drums and that's fast that's not that's not like days of yeah that's really really fat is still getting all that variation in there that makes it sound really yeah, totally and you saw how quickly I got that going as well. This is not something that should take you all day long like for a song should take you maybe an hour and to have drums us I'm really good like about this good. So sure. Yeah, well, if this is a natural break let's just do q and a and then we'll go to break. I think helen has a question in our studio audience. Yes when you come to it a problem of like trying to find that perfect symbol early whatever the tone, maybe on we break out into a different completely different drum kit and just like supplement um one of those tones or do you try to keep it within that same drum kit that goes back to what I said earlier about in stan shooting a different um instance of the plug in if the symbols from one drum set just aren't working for you and but the drums are you know like say you really like the kick thomas snare from this think the summer sound like crap thank you yeah yeah open another version of easy drummer and um in the mixer basically here allah do you personally do that a lot and you're when you're creating a beat or do you know stick with the scene well see, the thing is I use easy drummer primarily for writing so I just like toe I just like to fly seon superior drummer there's something called extra mes where you can they show up kind of like where these guys are these graphics are and they you can assign them tio drums from other kits so you khun totally totally frankenstein it within the single instance however one instance of superior drummer is going to be way more of a cpu hog than multiple instances of easy drummer so if cpus and issue just get multiple instances of this going and then just in the mixer uh mute you know mu all the drums on one and, uh you're good hopefully all right question from ivan as fan is there a general rule of thumb as to where to place cymbal hits or is it simply based on what a part needs it's just what the part needs I mean there there's some basics like crashes are often used tio open up a section high hats and rides here used to supply a pulse you know things like that splashes are used for effects in the middle of b it's things like that so you should probably listen to drummers that you like and figure out what they do and use that as your yeah I would definitely spend sometime like make a list of your ten favorite drummers and analyze what it is that they're doing and how they're using their symbols and maybe even and not maybe even because I've done this go the length of programming their parts on easy drummer velocities and all but really try to analyze what it is that they're doing when they go to which symbols and why and how it effects the song and how it works in context with the other instruments yet there's no there's no rules for this besides some basic guidelines that I just mentioned another question from kool aid olio on uh maybe related tio cornhole leo what sounds better within easy drummer and doris period drummer velocity very double bass patterns or one kick or using two kicks both uh I like to use uh I like to use if possible to different kick drums um and then definitely very the velocity so but you can get away with one kick drum because I believe that on the midday you have left foot right foot so you know, if you wantto get really nuts with it, no drummer has the strength the same strengthen their left and right feet so you can decide which hits would be with the left foot with their weaker foot and a sign of lower velocity of those you want to get really detailed with our really you're going to go on this, do you? Do you actually do that like so you know, I mean, you don't use really kicks on pretty much any mental record do you vary the velocities like that are the production system? I do? Absolutely I mean, just because it's a sample doesn't mean that we don't treat it like a bass drum. Now, mind you there's some things about a real bass drum that absolutely suffer metal like when a guy starts going super fast, they play a really light and it just sounds like a rumble and you can hear anything, so uh yeah, we have to create a situation that isn't actually what would happen but within that there are some things about double bass that we do like to keep the are at least I like to keep that left foot and right foot our have different strengths and left and right will be different pitches it's impossible to get the two base drones to have the same pitch so I like to have one hire one lower we were talking very fine amounts of of difference but over the course of thirty second notes going through an entire part that variation in my opinion is the difference between someone tuning in and tuning out mentally well so that's pretty that's pretty advanced stuff yeah, we'll do that any of that apply is there something anyone can take away from that for easy drummer absolutely turn on humanize er's or something more than that always have human eyes on um look right here this is your kick that's your kick as well and uh let's consult mr question real quick just tow make sure that what left and right is so it doesn't say so so sorry I can't I can't really speak to what it actually is within this but I know it could be well it's a single petal so that's all it is but in metal machine for instance you have way they make drum must they make drum kits with only one kick kick pedal believe believe or not if you look at ah metal machine uh you got the right si n the cake yu get that you're right and the left so if this was a double bass pattern and metal machine the way to make it work say say you're going from scratch um, would be says one thing another and they will sound different. Is not gonna sound different now because the same kick butt like this left, right, left, right, left, right and then, and then obviously alter the, uh, the velocities. But the variation and tone between these two, plus the variation velocity. Yes, you, khun told theo. How about not do that?

Class Description

Recording drums that sound both hyper-polished and authentic has always been something of a black art — one that isn't taught at any school, one that you could only learn from one of the few elite engineers scattered across the planet. Until now.

In this three-day class, free to watch while live, you'll learn the real-world production techniques that producer Eyal Levi uses every day at Audiohammer Studios — on albums for bands like The Black Dahlia Murder, August Burns Red, Chelsea Grin, and Whitechapel. Eyal will show how to select the right drums for the sound you want, tune and set them up, and mic the kit. Oh, and did we mention that the legendary Sean Reinert (Cynic, Death) is the in-studio drummer?!

You'll also learn how to use virtual drums, including when to use Toontrack's Superior Drummer and other software instead of a human drummer. Finally, Eyal will reveal the closely-kept secrets for polishing tracks —everything from editing and sample replacement to layering samples. At the end of this class, you'll know the trade secrets of high-end drum production and be armed with a toolkit for creating world-class drum tracks.


El Bulbo Studio

This class will give you confidence when tracking drums. Eyal's interaction with the drummer will help you communicate better with the artist to get the best performance and tone. The added bonus on drum replacement is very valuable and will improve your mixes.

a Creativelive Student

My drum sound has improved by 150% and counting. I'm grateful that Eyal would share this information with us. Not every technique is for every situation, but they all work. It's up to you to have the vision and to use the right tools for the job. Thank you guys!!

Michael Nolasco

To the guy that said buyer beware: this is an advanced production class, it's not meant for beginners who are learning to mic up a kit. I'm a beginner, but i'm using superior drummer, so this class was perfect for me to learn how to process drums post recording. I refer to it constantly. The editing videos are also prime information.