All right, so it's um leads um we have a few different leads going on in this in this whole thing uh one of my own and then ah they're guitarist and, uh it's funny on mine I literally only have e q and uh all right, let me see here um here's another another example of what I'm talking about uh, one second guys you could hear my punch at the end. Sorry, um that's just that's literally just to get our tone with a little bit of the q um without the sounds like this, you didn't do that much and I'll play in the mix now with, uh, with and without the and just to show you guys that it's not the plug ins it's, how you play this stuff and how you amped up stuff that's without you it appears with made a little bit smoother in the gels and a little more, but honestly, I could have left it without a queue and probably got away with it. Um and on most records I've worked on and with it the same way with lead tones most of the time you could just kind of leave it for instance ah suk off and I mixed...
a fire wind record, I believe it's the last one and, uh, anyone who doesn't know who that is that's ah gus cheese bank gusty ozzy osborne guitarist and uh man he's bad ass and uh s o we got his uh we got the files to mix and his solos did have the eyes tracked them all through a black star and we put them in and they sound great no es que no reason to like he sounds great got a great antone and just worked and that's a normal situation with great guitar players don't have to do that much they already did like most of the work for you when they ruin their social lives by practicing twelve hours a day for ten years like it's it's true if you're finding that you have to ah you have to go nuts with this stuff again. It's probably back to that same old situation that the guitar player probably sucks and all I'm doing here is I'm getting rid of some low end a slight boost of the high end getting rid of a little bit of harsh, annoying six ish boosting it a little bit in the midst kind of in the vocal ish ranch just a little bit and that's it there's to get it to gel a little more but does it need it? I don't think so what's up certain guitar's like I kind of like to do that from time to time probably more on like a solo than like a little auxiliary double paned lead kind of thing you know double tracked let's try it just consent cool little like make it a little more in your face maybe and your face man like a lead vocal sort of in your face I mean, you could see the way form there is already not too terribly dynamic anyway, but we can now want yeah, exactly in your face, man. All right, but we'll see any thoughts on threshold uh, I mean, if you go probably much past, like five or six dbs of, uh, attenuation it'll probably start to get kind of destroyed so just enough that you're shaving off the highest peaks. All right, maybe so it's constantly applied, but not more than like a you know, not not more than five. Well, let's, check it out. This might be a good solution for, uh for you no problem guitarists or something I mean makes let me volume match it though, so we don't get it tricked actually attenuating like between two and three decibels there if he's the link but in your eyes that link button well easier so the ceilings the same. I like it it's cool and I could definitely see it working on guitar players that don't play very consistently, especially if it helps it pop out of yeah, and then rarely not every time, but sometimes I have to automate the volume on a on a lead track especially after it's been limited because sometimes they'll be like one specific note that just seems like it gets buried for some reason even though the volumes not lower on it so you just sort of have to bump it up until it was perceived the same way as the notes around it you know? You know, the thing is though that I mean that's cool, but it still doesn't need it just like just like we could get away with without the q either I think like it does help but like I could see that I'm like actually I mean, I like what it did so I would probably keep it, but I think though that you know, my point is being that if, uh if the lead tone suck to begin with it's almost like even gives a shit probably wouldn't work, but um limiters on a lot of stuff kind of saved the day two haven't talked about that much because, uh, there's been a lot of tracks that we've gone through that don't need saving fine universal from the band totally different approach he kind of wants his stuff to sound all smooth and buttery that's not what I like to sound like, but he wanted his stuff to sound like like like butter. So this was a uh j c m a hundred kember profile um and I did a lot more stuff to it but let's see what it's like without anything real quick it's not about anyways, you know it's not like that's a bad lead tone or anything so like suddenly the guy sucks a guitar. Yeah, I took the plug in software suddenly all the years of practice he did disappeared that not the case and I mean, it still sounds a good guitar player leads to me. I know I'm not thanks, but I still think it sounds like a good guitarist he's like good what's his name alex I don't pronounce this I stand b I l l e look him up online. Yeah, I like this style spree cool. Yeah, here's all that was pretty cool too, unless say thanks. Thank you. Look around you. Well, I had I had to I had to make a cool because this was in the songs that we did. I have alex playing a bunch of solos and as you can hear, it's awesome than jason suk off played some guests solos and he's ridiculous and yeah, yeah, so I kind of had to not look like a chump, but here, so I'm gonna play the solo without any any of the stuff I did to it and if it's not loud enough that which might be initial just turn it up but I want it I want us to hear it raw as I suspected as I suspected okay that's the solo raw except for the little delay tail it's fine like again we could get away with that in the mix and this is something that I hope everyone out there who is recording solos starts to understand is that stop writing your solos and guitar pro and not learning of a broader and learn to play your goddamn instrument because a well played and recorded solo doesn't need any processing at all the tone comes from the hands all this extra stuff is icing like is he wanted to sound more buttery so there's some more buttery how did I make it sound more buttery by uh I had the butter preset um here so here it is with the processing and don't ask me why I used this money flowing and so I just did I just kind of show what everyone did one step at a time so start within an kun and I actually do like to cut a lot of low end out of leads and I know andrew way does the same thing more than a lot of people they just don't want your you know I mean you don't want it to sound wimpy but you don't wantto you don't want to be interfering with the rhythms um because rhythm guitars and metal are not like rhythm guitars in country or something else like you still kind of want to be hearing the riffs now these high end cuts that's where the butter is coming from but with cutting this much out of the high end I needed still have it poke through which is where these boosts our from so anyone here on a fatso I was shown the real thing well, listen to the name and check out what it does it should just be called butter out of that I'm sure you've heard of this thing uh a limiter elite oh, so I guess I have done it before and then ok so once s so I got it very, very buttery uh super super pop out he consistently with the limiter and then I just felt like some of these lows they needed to be added just a little bit more because sometimes when you add a compression limiting it kind of kills your low end a little bit and since already took out a lot earlier and need even more to be gone, I'm not tryingto have telephone sounding lead guitars so just added just a little bit more and guess what uh three was being gross so tio quick little correction and then add a little bit of what we do here and just, uh boosted a little bit of eight that's it so it looks like a lot of plug is this really not that much happening? It's kind of like a little a little a few little moves across a bunch of plug ins as more because they all kind of have their own little you know sonic qualities to them I find that you make a a bunch of tiny moves across a bunch of plug ins as opposed to like say, uh if you're on for a specific kind of tone and you can't get it with one plug and maybe instead of raising something six d b and one e q maybe you know, raise it won t v in one e q and then compress it a certain way to maybe have those frequencies pot mohr and then, uh at another e q that raises whatever another deviate or to that kind of idea like make a bunch of little changes to get to your goal rather than drive yourself insane with one e q so that's kind of how I got to that and, uh, last thing I'll go through with this's thiss thing because I like making tones like these and, uh, do you guys, uh you remember that time when ah talked about printing down tracks weii used that's, a printed down track and the reason I did that was because I liked it and the story printed it gone so I have no idea how we even got that so here you know parallel right here to the reflections tune there the clean tone that we used in the reflection stuhn uh it was supposed to be heard over you know, a wall of d tuned insanity ah very similar thing uh at a little bit of distortion to your clean sounds to get them to blend in I mean, obviously you need them to stick out but if you don't add a little bit of distortion just a little bit of dirt um it's ah it's gonna it's going to stick out in a really weird way much like clean base on a metal song so any questions on ah my guitar um mr g h wants to know how do you deal with obtrusive pic noises like guitars with what? Pick noises obtrusive obtrusive pick noises were make him replay it yeah, yeah just practice silly gets it I mean, uh if you get a d ies from a band and they're also gradually because the guys don't know how to play there's no fixing it there just isn't and uh or if it's like squeaks between power chords I mean, I guess there's some things you can edit out but at the end of the day it's like, uh, play better tracks do better job playing the guitar and that you won't have to deal with those noises. Well, somebody else wants to know where's that reverb on the lead tone coming from space base. Yeah, it's, creepy man, but it's also kind of weird like you think about it. All right? Uh, let's see? Steep, so see guitar lead f x and that is going down to guitar lead effects, which is echo boy tried and true and valhalla vintage verb you cannot go wrong with fall holla products by the way, they make some great great stuff as faras reverb xgo involve hollis stuff is among the best of every used and, uh, as faras just general effects go the sound toys stuff like I go boy is among the best I've ever use. So yeah, cool, everything else good? All right, so, uh, let's move on real quick. Um, just wanna help always want to tell you guys again. Uh, spread the word about these guys. Have you guys like any of that stuff? Uh, help me help them get out there because I want to make an album with them so there's their links, uh, screen shot it posted on twitter and whatever you whatever you do
bonus material with purchase
Bonus - 1-on-1 Mix Critique with Eyal Levi.pdf
Eyal Levi - Mastering Metal Mixing - Mix Fundamental Slides.pdf
Eyal Levi is a critically acclaimed educator, musician and producer. After attending the prestigious Berklee College of Music, Eyal cut his teeth as the guitarist and primary songwriter in Daath, a progressive death metal band that released albums on Roadrunner and Century Media. In the studio, he has worked with such artists including The Black Dahlia Murder, Monuments, The Contortionist, Chelsea Grin, Carnifex, Demon Hunter, August Burns Red, Reflections, Motionless In White, and Firewind. An accomplished speaker and educator, he has logged hundreds of hours teaching the next generation the craft of music production.