Recording Metal with Eyal Levi: A Bootcamp


Lesson Info

Color Coding, Labeling and Arranging Channels

I'm going to go ahead and finish up the color scheme between tracks and buses. Ans so the way that I'm gonna do it is this: so that it's really, really easy to know where the hell I am when I'm scrolling through, 'cause look at this, it's insanity. So, buses are gonna be bright and tracks are gonna be dark. And secondary tracks, like DIs or something, are gonna be even darker. And that's how I'll know. So, for instance, this is the vocal effects bus, right? So, we're just gonna go ahead and make that bright purple. And then, these are the actual vocal effects right here, so make them a shade darker. And here's a vocal scream bus, so dark purple. And you see, so everything vocal, all the vocal buses, the vocal scream, the vocal sing, the vocal effects, they're all gonna be this bright purple. And then the individual tracks that go into that are gonna be darker. And this just helps. It helps me and it'll help you if you do it, too. So, scream, here's the scream bus, here's the scream tra...

ck, so a shade darker. Here we've got the vocals sing and a vocal sing harmony are background buses, so both of these will be bright. And here we got the lead. So, one shade darker. Now here's something interesting, because these are all clean vocals, even though they're going to two different buses, they're gonna be side by side. They're working together at all times. And for the sake of how I think, I'm gonna actually take these harmonies and make them darker, so that at least I have a little bit of differentiation here between the tracks when I look down. Alright, so, remember I said that guitars cleans and leads were both going to the same bus? Well, I don't like that. I'm looking to see if there's a guitar effects bus. And I don't see one, so this is a good opportunity to make one. And to also make a clean bus. And I'm gonna just clone this aux right here. And then change it up. (clicking) So, call this one guitar cleans. And this one effects. Alright, cool. So, I'm gonna put the effects at the top, since they both go to that and so I'm gonna make these three buses, I don't like that orange, but I'll deal with it. Okay. The things you have to do in life. Alright, let's see. Let me find where there are some leads. Okay, these are the leads. See my file naming convention, right here, saves me because if you remember from day one, when I talked about pre-Pro and about file naming convention how I put the group instrument first and then what it is, so for instance, with guitars, I go G dash left one. G dash L two, so I know guitar lead one, guitar lead two, guitar lead three, wow, rocket science. But now it was easy for me to find, as opposed to right here, G-C-one, G-C-two, what might that be? Guitar clean one, guitar clean two. This stuff seems elementary, but trust me when you have to get into a super complex mix like this, all these little things add up and either they're gonna make you more efficient or less efficient and I choose the side of being more efficient. Alright, the guitar cleans are going to be a shade darker. And then the guitar leads are going to be a shade darker. These look like DI's, can't tell. (clicking) What's it even going to, guitar leads. Ah yes, that would explain it, the volume's turned down. Okay, so, I'm not planning on using these DI's right now. So for the sake of not having DI's everywhere, I'm going to make these tracks inactive and hide them. Could always come back to them later, if I need to change anything. Get that out of here. And then looks like I've got some lead DI's as well. So, I've got leads one through four and then lead DI, well one through three, actually, it looks like. Track, delete. And then lead DI, one through three, I'm going to make them inactive. And hide them. There is no lead four, goodbye. Alright-y this is easier to deal with. However, there's one major thing that's left, which is that I don't have a clean guitar bus in the I-O. So I'm gonna go name it. (clicking) And now, all these cleans can go to clean guitar and then, clean guitar bus can get clean guitars. And then clean guitar bus can go to clean and lead guitar aux, beautiful. Okay, and now, guitar leads can also go to my aux for clean and lead guitars. And then, I'm going to do this differently. Let's see if I have a guitar effects send. Nope, I'm gonna make one. Again, the reason that I'm naming all this stuff is because it is so much easier to work with named buses rather than like Bus 34 through or Bus 11 to and they have to remember how you had all that going. This way, I just know that the guitar effects goes to the guitar effects buses, how much more simple can it get? So, bus guitar effects and then, I'm gonna set up a send on the clean guitars to go to guitar effects. And then I'm going to do the same on leads to go to guitar effects. Now I don't totally know what the guitar effects are going to be, but I'm just gonna, just for the sake of having something to play with, I think that I'm going to add, where is it? There it is, Effect Rack. Anyone who's not familiar with Soundtoys 5, you should be, you now get this Effects Rack with it. Really, really awesome. You can do all kinds of crazy shit with it. So I'm gonna put EchoBoy on here and let's see what else. You've got a Crystallizer, yeah, EchoBoy and Crystallizer. Okay, so since these are on a send, at least, oh I gave myself two Crystallizers, I don't want that. Goodbye. Where did my EchoBoy go? Alright, so EchoBoy has to be on mix under percent, because it's a descend. The Crystallizer mix, I just want to add a touch of that to the effects and then the third one, doesn't even exist. Okay, cool. I don't know if those are going to be the guitar effects, but I'm actually just gonna turn this down, but at least it's set up now. And, as per usual, I'm gonna test it. Cool. (guitar notes) Alright. I'm gonna record it. I want one last thing, my guitar effects need to go to my guitar aux. The clean and lead guitar aux. That they're just printed on there, one big sound. So, let's see, is it gonna work? (guitar music) Cool, we've got that and then, just for now, I'm going to enable my lead clean print so that... can check if that works. (guitar music) Okay. As you can see, I just made myself a lead clean stem. And I'm gonna turn it up a little. (clicking) (guitar music) Looks like it worked, there you go. I test these things because I don't want to assume that, you test it once, make sure that it works and you're never gonna have to test it again. While I'm setting it up, I don't want to by chance have something that's not routed right or not bouncing to the right place and then have mistakes take place. So, as you can see, it also bounced louder and not as loud versions. Alright, cool. Alright, let's keep on going. Clean guitars... Okay. I'm gonna skip this real quick, 'cause this is crazy stuff. I'm gonna get to it in a second. I'm gonna start with drums. Drums is such a huge topic, just go ahead and give them all a color to begin with. Like blue. Cool. Okay. So I've got a lot of stuff here. Let's just start getting right to it. (clicking) That's what I thought. Okay, these are keys for which the trigger gates off of. And this is midi, so (music playing) these tracks (music playing) stop it. These tracks right here, and this is some version of contact that he was using that we don't even need, and that's Steven Slate Drums, we don't need that. So just gonna get rid of it all. So, contact of slate, delete. All the midi, can't exactly make it inactive but I sure as hell can make it small and get it out of here. I will need it later, I think, if I need to print any samples, but we'll get to it, if needed. As a matter of fact, I'm gonna take it and just put it at the very bottom. Just completely out of the way. Alright. All these gates, I'm gonna put them with their respective instruments. Now, you remember when I said that I use brightest for the bus? Then one shade less bright for the actual tracks. And then one shade less bright for anything else. So these gate keys would be the darkest shade, for instance, that's kind of what I mean is anything else, like trigger splat, or something like that, that you use to trigger something or to enable a side chain. So, got these for the tawns, as well.

Recording Metal with Eyal Levi: A Bootcamp will give you access to one of metal’s most in-demand producers and educators. You’ll also get to watch the talented and seasoned performers of Monuments show you how to record flawless takes and how to prepare to enter the studio.

Recording Metal with Eyal Levi: A Bootcamp is the definitive guide to recording and producing metal. From soup to nuts, start to finish, A to Z, you will learn everything you need to know about recording and producing a metal song.

Eyal Levi will take you inside the studio with Monuments as they record a song from scratch at Clear Lake Recording in Los Angeles. In this bootcamp you will learn how to:

  • Prepare for a session in preproduction by choosing tempos and organizing the session
  • Record flawless drums from selection and reheading/tuning to mic choice and placement to editing
  • Record rhythm guitars
  • Record clean and lead guitars
  • Record bass guitar
  • Record, edit and tune lead vocals, harmonies, and screams
  • Mix and master from session setup to final bounce

What comes with purchase of the class?


Intro to Bootcamp
Purpose of Pre-Production
Technical Side of Preproduction
Pre-Production: Setting Up the Tempo Map
Pre-Production: Importing Stems
Pre-Production: Click Track
Creating Tracking Templates
Intro and the Tone Pie
Drums - Lay of the Land
Bearing Edges
Wood Types
Depths and Sizes
Sticks and Beaters
Drum Heads
Drum Tuning
Drum Mic Placement Intro
Basic Drum Mic Setup
Cymbal Mic Setup
Touch Up Tuning
Microphone Choice and Placement
Drum Tracking Intro
Getting Tones and Final Placement
Primary Tracking
Punching In and Comping Takes
Guitar Setup and Rhythm Tone Tracking
Amplifiers - Lay of the Land
Amplifiers & Cab Shoot Out
Guitar Cab Mic Choice and Placement
Guitar Tracking and Signal Chain
Finalizing Amplifier Tone
Guitar Mic Shootout Round Robin
Intro to Rhythm Tracking
Setting Up Guitars
Working with a Guitarist
Final Guitar Tone and Recap
Guitar Tracking with John
Guitar Tracking with Ollie
Final Tracking
Tracking Quads
Intro to Bass Tone
Bass Tone Setup
Bass Tone Mic Placement
Bass Tracking
Intro to Clean and Lead Tones
Clean Guitar Tones
Lead Tones
Vocal Setup for Tracking
Vocal Mic Selection and Setup
Vocal Mic Shootout
Lead Vocal Tracking
Writing Harmonies
Harmony Vocal Tracking
Vocal Warm Ups
Scream Vocal Tracking
Vocal Tuning and Editing Introduction
Vocal Tuning and Editing
Routing and Bussing
Color Coding, Labeling and Arranging Channels
Setting Up Parallel Compression
Setting Up Drum Triggers
Gain Staging and Trim
Drum Mixing - Subtractive EQ
Drum Mixing - Snare
Drum Mixing - Kick
Drum Mixing - Toms
Drum Mixing - Cymbals and Rooms
Drum Mixing Recap
Mixing Bass Guitar
Mixing Rhythm Guitars
Basic Vocal Mix
Mixing Clean and Lead Guitars
Mixing - Automation
Mastering - Interview with Joel Wanasek


  • 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.
  • Amazing knowledge is being presented here. If you want to start out recording, this should be your first step, it'll save you lots of time and get you awesome results. Highly recommended class.
  • 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.