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Guerrilla Recording

Lesson 22 of 23

Replacing Tom Samples

Beau Burchell

Guerrilla Recording

Beau Burchell

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Lesson Info

22. Replacing Tom Samples

Lesson Info

Replacing Tom Samples

I'm going to start moving on to doing something that I had talked about a little bit yesterday when it comes time to minimal miking. Um, so if you remember earlier today, we had, um, just a mano overhead, mike kick and, um, snare and every mike so now what I'm going to do because we didn't like the toms, what I did after we recorded everything is I took and I made a couple tom samples, which is basically, does you hitting tom's? So now, as I'm listening to this, I really wish we would have had tom mix in there, but it's, like, you know, we only have four inputs, so we've got to make the best of it, and if you really think about it, you're tom's on ly happened like, a couple times in the song, so I mean, it was funny to sometimes you get drummers, I don't know if you've seen him, um, but they'll walk into, like, a live gig or in the studio, and the guy has, like, you know, iraq, a floor and I'm like, extra to floor tom's like, did you really need those? You know, that I'll definitely de...

finitely need these is like cool when does it happen said well there's one part in one out of our ten songs that I hit both of those four times at the same time it is just so sick it's like all right cool do you really need to have both of sort of the whole time you know but anyways um I know I'm sounding like a jerk right now but I'm very accommodating to those types of things and like I said, if it makes the general feel more comfortable having them there it's worth having them set up but my point is is that when these tom's air only hit a couple times vert compared to the kick and snare it was way more important for us to have a kicks in their overhead and possibly that room that gives it that extra little bit of length and then we can just lay in these tom samples as as we can go through and listen to the overhead and then place them in here and then we'll see how that helps things out not in our symbol track I really just fix that hot second. The other thing too is as you're doing any sort of edits it's important tio like for instance here if you were to make this cross fade in the middle of this way form you could get a little funky um I'll just play it for you it is not really noticeable there, but it's always a good idea to kind of pull it out in front of it. Sometimes you can get, um, kind of like a double kick it like a flam, almost and it's, once you start bringing out the attack and more of the definition of the kick drum, you will really start to hear those things poking out and maybe not you, but it drives me crazy if I if I start hearing checks that were edited like that, that was a war, tom, right? And this is where you can get a little tricky, and you're just gonna have to use your ears because since we had the overhead mike positioned in a certain way and we didn't really care about how our toms we're sounding in there, we could get ourselves into a little bit of trouble. But, um, that's, just what we have to deal with is that both tom's at the same time from local, um, as I'm doing this here, I'm just holding down option to drag something, and it duplicates it in case you were wondering about that, there are tons of little, uh, pro tools short cuts that will save you tons of time and it's kind of funny, because if you invest the time toe, learn those shortcuts, they'll end up saving you lots of time later on and then you can be the friend that maybe that's a good idea if you if you learned your d a w really well maybe you'll have that buddy who has tons of gear and doesn't know how to use it and you can be the friend he calls to gets advice on hey how do I do that? One trickier shown me and you say you know what? Come over here and bring that cool new a d d converter you're talking about and I'll show you the trick and we can kind of experiment with comparing those eighty converters and I can figure out if I need to get one of those or not or hey, I could just borrow that thing that you just got um I know right now there's some pretty ridiculous and if you're noticing now like obviously things aren't exactly on the grid and that's because I only used that ninety five or ninety percent strength or whatever we used um and if you choose to go one hundred percent to the grid um it does make manufacturing things like this a lot easier because then you don't really have to zoom in and make sure you're in phase with thing because you already know that it's there and you can just kind of quickly zoom and just kind of go nuts and ok there's my tom's and I know they're in because they're there you can quantify stuff can you take something that is like bang on every beat on the grade and some kind of tool that will move that like a nun quantifies almost yes so what you can do is if something is totally on the grid you can still use that same kwan ties but just use the strength like way down I believe um I've never I tried to do that and maybe all actual try it as soon as we're done this unless somebody in the chat room like has already tried that maybe they can answer that question I feel like that would work as well as there is kind of like a like a human eyes or qantas grip randomized swing and strength it may do that e I've never really tried it because sometimes the tracks that mean it's like for me I never really quantifies things at this tight anyways I make people replay it if they need to do it tight and if somebody sends me tracks that are already quanta ized then I know they want them quant ized and if you wanted to get really geeky about this stuff um there was actually a uh the song ended for so before kind of like drum sampling and like triggering was to the point where it is now where you can have like mold multiple hits samples and it was like really like now it's at a point where it's like if you're good at it I feel like you kind of get away with I go I don't know that samples or not but for a while there when it was first around if something was sampled you definitely knew it I did a song for van called bled and it was for like a compilation so it's just one song and uh I tracked the drums in my in my parents like I used to have this is really small studio my parent's house it was they had a two car garage and they let me convert one car garage into a little ysl booth and control room so that's like a ten by twenty area so I have like maybe I'd like maybe an eight foot by eight foot my control room and the like eight foot bite but like isil booth and that's where I kind of like did a lot of those original uh records like the sales and first transit today bp was done there everything except for the drums the bronx one was done there um named taking the blood we're all done there um except for the drums and it does have a big place um but um so for this one comp there wasn't really the money to go track drums at a bigger studio so what I did is as we tracked the drums then we kind of found out that okay the snare that we tracked was just um there's nary tract was just like tune too high and we didn't really like it and it just didn't really sound that great so I actually took the drummer with the song and we went to a friend's studio that had a larger studio like a good drum room and I kind of just begged him like him and we get in there in the off time and I'm just going to set up like a fifty seven on the snare and then a pair of room mikes and I had the drummer actually overdubbed the snare for the whole song and then I had to go through and like and it the snare so that it was exactly in phase with the original snare and that's kind of how I like replaced the snare um totally a lot of work but in the end all that matters is when you hear that recording it's like is there sound pretty good and is that both both tom's there or is that just the floor? Correct anything from you old chat room know somebody had a comment about the un quanta izing just ahead tipped the guy that's what quantities ing you can kwan ties to a group which would be an unpermitted grid and even create groups within pro tools to a drummer's feel using beat detective ok, yeah that's what you're talking about all right uh yes so within beat detective which is the other way of editing drums yeah, you can use like a groove template extraction so if he were to play a beat you know what I mean? Like if he's caused like what we're talking about how you're kind of rushing those kicks after your snare um you can kind of make like like a feel or kind of a template to that and make that be kind of like the feel of the drummer um but it sounds like this person who is replying is definitely more knowledgeable on that particular um feature than I am I've actually never done that sorry this is really boring this is normally the point where I tell the good band to go get coffee you know or go take a lunch is that both both there both there too and same thing with this is important to make sure that you're you're kind of like tom transients are in phase of your overheads because same thing it's like otherwise you're not supporting is taking away and there's no thompson the whole beginning right mother is very first hit it I think just four we don't want to have that three armed drummer again ok, so it looks like you hit your four first track hee hee so because we kind of just use one hit um you noticed how kind of unnatural that sounds and there's no real build so something you can do is kind of just do volume rides with this kind of simulate the impression of your crescendo to me. Like having these samples and they're now really helps. That part versus here is without them, with, um, ok. And I think that pretty much covers what I was hoping to talk about it. And you guys have any questions, like, were tricks or anything that you can think of that, hey, what if I did this instead of what you did or really know, tapped out, huh? You covered a lot of very much covered everything. Okay, all right, cool.

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

Class Materials

bonus material with purchase

Beau Burchell - Dos and Donts.pdf

Beau Burchell - Gear List.pdf

Beau Burchell - Guitar Reamping.pdf

Beau Burchell - Room Prep and Prepro.pdf

Beau Burchell - Song Structure LTDISMB.pdf

Beau Burchell - Syllabus.pdf

Beau Burchell - Pro Tools Video Drum - LARGE DOWNLOAD

Ratings and Reviews

Student Work

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a Creativelive Student

A lot of great info here! Awesome getting to see Beau's workflow and hear his thoughts on the methods he uses. Would love to see him do a class on micing guitars, bass and show his methods in more detail/time. He gets some of the best raw tones in the game. Feel like this was more of a great overview and would like more time for details seeing as he is a very knowledgeable dude. Thanks Beau for the great class and for sharing this info with us.