Lessons
Intro to Bootcamp
13:45 2Purpose of Pre-Production
15:55 3Technical Side of Preproduction
11:33 4Pre-Production: Setting Up the Tempo Map
12:05 5Pre-Production: Importing Stems
10:11 6Pre-Production: Click Track
15:27 7Creating Tracking Templates
17:04 8Intro and the Tone Pie
04:52Drums - Lay of the Land
10:45 10Bearing Edges
03:10 11Wood Types
10:37 12Depths and Sizes
04:00 13Hoops
02:39 14Sticks and Beaters
07:39 15Drum Heads
07:31 16Drum Tuning
1:03:55 17Drum Mic Placement Intro
10:38 18Basic Drum Mic Setup
53:37 19Cymbal Mic Setup
35:25 20Touch Up Tuning
46:56 21Microphone Choice and Placement
40:34 22Drum Tracking Intro
01:01 23Getting Tones and Final Placement
34:52 24Primary Tracking
31:54 25Punching In and Comping Takes
20:11 26Guitar Setup and Rhythm Tone Tracking
01:59 27Amplifiers - Lay of the Land
10:01 28Amplifiers & Cab Shoot Out
27:13 29Guitar Cab Mic Choice and Placement
03:56 30Guitar Tracking and Signal Chain
29:08 31Finalizing Amplifier Tone
51:24 32Guitar Mic Shootout Round Robin
05:22 33Intro to Rhythm Tracking
07:46 34Setting Up Guitars
15:02 35Working with a Guitarist
05:05 36Final Guitar Tone and Recap
04:11 37Guitar Tracking with John
15:19 38Guitar Tracking with Ollie
32:03 39Final Tracking
22:08 40Tracking Quads
33:44 41Intro to Bass Tone
01:26 42Bass Tone Setup
07:36 43Bass Tone Mic Placement
16:42 44Bass Tracking
45:09 45Intro to Clean and Lead Tones
02:15 46Clean Guitar Tones
34:05 47Lead Tones
10:58 48Vocal Setup for Tracking
11:27 49Vocal Mic Selection and Setup
02:39 50Vocal Mic Shootout
09:14 51Lead Vocal Tracking
38:09 52Writing Harmonies
07:44 53Harmony Vocal Tracking
23:25 54Vocal Warm Ups
11:40 55Scream Vocal Tracking
18:57 56Vocal Tuning and Editing Introduction
01:35 57Vocal Tuning and Editing
29:26 58Routing and Bussing
25:16 59Color Coding, Labeling and Arranging Channels
17:54 60Setting Up Parallel Compression
30:51 61Setting Up Drum Triggers
10:41 62Gain Staging and Trim
1:00:54 63Drum Mixing - Subtractive EQ
25:39 64Drum Mixing - Snare
23:01 65Drum Mixing - Kick
11:39 66Drum Mixing - Toms
24:47 67Drum Mixing - Cymbals and Rooms
17:24 68Drum Mixing Recap
08:58 69Mixing Bass Guitar
16:27 70Mixing Rhythm Guitars
1:16:08 71Basic Vocal Mix
1:08:59 72Mixing Clean and Lead Guitars
58:55 73Mixing - Automation
43:36 74Mastering - Interview with Joel Wanasek
31:02Lesson Info
Bearing Edges
With a drum there's basically three major factors that go into what a drum sounds like and that's the bearing edge shape, the type of wood that the shell is made out of, and the heads that you're using, the head selection. So, starting with the first one, the bearing edge shape. There's several different types of bearing edges on the market and the sharpness, the degree of the cut, how much roundover, how far into the shell the bearing edge, it has a counter cut. All of those things determine what type of sound the drum is ultimately gonna get before it even gets to the wood characteristics and the head characteristics. So with Tama's kits, they use a, looks like a double 45, but a slight out cut, so it's not quite centered in the middle of the drum, but it's enough into the drum to where we're gonna get a little bit more of the shell contribution. Basically the idea is the sharper the bearing edge cut and the further out it goes, the less shell contribution you're gonna get in the sou...
nd. The ultimate contribution from a drum shell is gonna come with the bearing edge cut and centered over the center of the shell plys, and Tama is pretty close to that. They're not all the way in the center but they're pretty close. Do you wanna explain to them real quick what you mean by shell contribution as opposed to head contribution? Sure, so shells, they all have their kind of EQ curves I guess is the best way to describe it. Every wood kind of has its own resonate frequencies and characteristics. Heads also have their own characteristics as well. So let's say for example we have a drum where the bearing edge is cut completely to the outside corner. There's no counter cut at all, so when you look at the shell itself from the inside out you have a straight line and then the end of the shell goes down. So that example right there is a picture of what happens when you mostly only have head sound contribution. The shell is not really activated by the head at all and your sound is largely determined by heads, your head selection. Let's go to the other side of the spectrum which would be the more vintage rounded type of bearing edge where you have a rounded outside edge with a cut on the inside. So the round part kind of centers over the middle of the shell. That is going to give you a lot more shell contribution than the previous cut because there is more contact with the head to the actual shell, activating the wood characteristics a little bit more.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Ron
I'm on lesson 19! Already worth every dollar!!! Priceless insight! I have already incorporated some of the ideas (preproduction common sense stuff that I never thought of, but damn). VERY HAPPY with this course! ALWAYS LEARNING and looking forward to the next 50 (or whatever) lessons!!! Excellent course! GREAT PRODUCER/ENGINEER, GREAT DRUM TECH, and GREAT BAND!!!! THANK YOU!!!!!!!!
ceeleeme
I'm just part way though and I'm blown away by the quality approach Eyal takes to getting the best out of the sessions. I love how well everything is explained and Eyals calm manner is just awesome it really makes you want to listen to the gems of wisdom he offers.
Will
Wow is all I can say. This bootcamp goes in so much depth from tuning drums, setting up guitars, to recording and mixing. I have learned so much by participating in this bootcamp. It has taught me some new recording techniques and signal routing for my mixes. I just want to thank Eyal, Monuments, and Creative Live for taking the time to do this. It has been amazing and I will keep going back to these videos.
Student Work
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