Guerrilla Recording

Lesson 21/23 - Recording Keyboards

 

Guerrilla Recording

 

Lesson Info

Recording Keyboards

Okay, so now that we kind of have the guitars tracked and the bass and the drums kind of just like our basic tracks, we're going to dive into some keys there's barely any keys in the song but I did think it was kind of worth exploring and showing a few things that you may or may not know you can do within your dear w um so I've already created um so what I've done is I've created a mini track and an audio track for our keyboard and it's okay to call it a keyboard right? That's no like offensive okay, um I feel like sometimes you know, you get like the sound guy at a club like, oh, money goes keyboards it's like really didn't like degrading you know, but it's like yeah it's actually pretty grab so I was if I was like, really virtuoso piano so might be like did come on right? So we have the mod track yeah um it's not a keyboard, so we have this track that have enabled because uncertain keep uncertain keyboards you're able to take a middie performance, which is almost like I don't know ho...

w to describe it other than it's just kind of like um just like it's almost like a like as if you were like trading futures or something like something were so it's kind of like their notes within um they're kind of like so there many notes, but they don't necessarily make any sound. What they do is they tell, like a brain or another sound device, what notes to play. So for instance, you could take these notes that were going to be recording, and you could send them to a drum machine, and it would, you know, like, if you're see is your kick, you know, and a lot of you guys, if you're programming drums home that you know, like, ok, minnie, is this, you know, I know my cake is on c my stairs on d, you know, like high hat is on e and up and down the keyboard, you have all those kick drums and everything, but if you take that drum loop that you programmed within your many notes, you can actually take that in the senate to a piano, and then it sounds like a crazy person playing piano so kind of what we're doing is going to demonstrate how we can take the mini notes as well as the actual output of this moge track it in, and then we'll see if there's any mistakes or things that we can tighten up, and we can actually tighten up the middie performance and then send that back out through the moge. Almost as if we were revamping the mode that way, we're not having to chop up the actual audio of, like this cool analog sent and I have these kind of edit points in there, so it's a really cool way of kind of getting a title performance this way, so I will just kind of jump right into it and let me say this here and this is a little kind of a weird setup with many media is very strange, especially when you're coming from the audio world side of things or if you like a live performer, media is just kind of like a whole new world, and if you think there's a lot of options within audio and your d a w like, once you start getting enmity, there is just so much more so much more options and so much more that you have to tow learn to really be able to get good at many, in my opinion. Um, okay, so let's take it from, uh, take from the bridge and you were totally right as it warms up, it's going sharp wait. So yeah, and which is really funny because you wouldn't think that you ever have to tune the keyboard, but it does happen, especially with, like, cool analog ones like this and just like a lot of other, you know, like cool vintage old gear they're usually really delicate and you have to keep tuning in turning in tuning and some unfortunately the coolest sounding guitars are always the ones that never stay in tune so like I said it's a lot of work so ok so I'm going to ditch this performance and then we'll start again eight klicks from the bridge cool can you give me one more take um but give me a little flub in there so I can just kind of show how we can fix it too good of a keyboard player using the way okay, here we go it's cool. Okay, so what we have here is we have the audio track that we recorded for the mowed down here but I will play so this is our little float right here that you can actually see um and now what I'm going to do unfortunately with this particular one you have to assign the input and the output to be separate things otherwise it will feed back into itself. So that's what that's why I'm changing these but what we can do now since we have the mini track here with the performance we could if we wanted to we could kwan ties this whole thing we can move it forward or behind I can fix this little flub or I could actually write an entirely new part um so here is the flub many notes though, actually play back out of so I'm sending these notes back into the mode and then they're coming back out and log back into the computer as if I were actually hitting the keys just just right here on this is my keyboard here so I can actually change these notes um and so here is this flub that we can we can hear waken do is we can just ditch that e in that my broader right? So if I go into pitch band I should be able to see ma bell yeah so if we decide later on this like a man that just sounds like it's out of two you know, wait actually go through, flatten that out or put it back before we could even say like, oh, I kind of want that on almost all the parts so you could so just kind of things that you can do within middie and now as and then once you get your mini track kind of where you want everything you can do with many too that I won't really go into because I feel like people are starting to get mad at me when I start quantifies ing things but for many people this is kind of cool you can actually quantifies the on and off hits um I like where your performance is now, so let me just tracked that in but if we wanted to we could go through and start trimming needs to be exactly right on if this was a very technical part where there was a lot of notes you could actually trim knees toe where everything is perfectly lined up normally would line things up with the drums, but since I lined the drums up with the grid I don't really have to look at the drums because the grid is what drums air lined up tio and then now I'm gonna put this on a new playlist keys grid and then we can hear it grated let's listen to that on the track and then the grid, which I don't think they really make that big a difference actually like your original one better I feel like it was like made even though it's like you saw how small it was that we're moving whatever you did, it seemed like it fattened up those beats kind of like what I was talking about like the landing pad it like made those down these like when you when you hit things I feel like it just made those like fatter interesting marriage of analog sounds and maybe because the overlapping of notes affects the glide time and stuff well yeah, we've got to get creative with like sometimes not being to the great for yeah creative afford to slide up right? Because that's modifying accredited u s o that's nothing to realize too if you're and that's everything once you start getting into keys and you know keys and many especially it's like it's just like ahh whole new world that if you're a guitar player just like what what is going on here and takes a long time to kind of get things right uh ok so I think that pretty much covered keys is that the only time it happens in the song or the same repeats after a short break there okay copy and paste it if you wanted to now let's play again hmm um after what break pop right after finish their deposits for about eight bars and comes back in pop that tune or plugging up again you double check that real quick you and exactly what he's doing um if you're tracking for riel um in another situation I would recommend usually if I'm tracking guitars every time that you're not actually recording I mean I'm usually tuning guitars after every take no matter what it is you do a pass and then it's like how was it? I don't know I'm gonna listen the performance you tune up you know and that's just how it goes most of the time you spend equal amount of time tuning your guitar as you do actually playing if not more which is part of the reason why recording is just so boring for a lot of people but in the end like I said if you like this type of thing and it's really rewarding um okay so people around their public he's you're so boring but they can't actually had really cool textures that thing and they're often overlooked okay? I mean I think that definitely gets the point across for what we're doing on ben you know, a lot of this this many stuff like once you're kind of done getting your performance you can kind of just you know, had making active or just fail it if you want um because we don't really need it at this point it's not really doing anything and then once you just get a keyboard I mean you're pretty much done with um so um well it's just kind of listen down and see what's going on let's let me listen through this and then uh maybe as we're listening if anyone out there has any questions like that they want to know as far as like what we're doing what I plan on doing but this or if they have anything that they would like me to try while we're here on this um or if they have things that they've tried to do in the past with something like this and maybe they were wondering why it wasn't working or how to make that work uh more than happy to answer those types of questions unless he was going to listen you hear the whole thing.

Class Description

Find out exactly what you need to get a great recording on a super tight budget in Guerrilla Recording with Beau Burchell.

Beau is a vocalist, guitarist, producer, and founding member of Saosin – his discography includes credits on songs from The Bronx, From First to Last, and The Bled. In Guerrilla Recording, Beau will show you how to walk into any recording situation and make the most of it.

Whether you are making do with with 1 mic, 3 mics, or a fully staffed studio – Beau will help you focus in on the details that will really make a difference on your track. You’ll learn best practices for recording vocals, guitars, drums, and bass on the cheap. Beau will also talk about workflow and how to listen to your track to make sure you captured the best sound.

You don’t need a big budget and high dollar equipment to get a quality recording. Learn the gear and techniques you need to get the sound you want.

Featuring a live studio tracking session with Beau and Seattle band Lo, There Do I See My Brother

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