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Recording Metal with Eyal Levi: A Bootcamp

Lesson 17 of 74

Drum Mic Placement Intro


Recording Metal with Eyal Levi: A Bootcamp

Lesson 17 of 74

Drum Mic Placement Intro


Lesson Info

Drum Mic Placement Intro

So welcome to day three of the CreativeLive Metal Recording Boot Camp. I'm Eyal Levi. And I'm working with the amazing Monuments and the even more amazing Anup Sastry, the drummer and probably the best drum tech ever, Matt Brown who was cool enough to fly here all the way from Orlando. We're in a lay right now. And today we're gonna be talking about microphone placement on the drums. Because, let's face it, drums don't just sound great in a room and your done. They have to sound great in the microphones, and how you place them makes a big impact on the sound. So we're going to be talking about isolation. We're going to be talking about patterns. We're going to be talking about phase. We're going to be talking about the angles. We're going to be talking about the height. And we're going to be talking about the distance of the mics from the drums. As well as how far over the drums they go. So basically, yesterday we went through what we have available to us. How many inputs we have here.

How to actualy tune drums. I think that everyone should watch yesterday's class and take notes. Write everything down you said, and then do it again. And then do it again. Do you think that people should go out and just buy a cheap drum and practice? That's one thing that we didn't really talk about. How do you think that someone could get like really better at that? I mean yeah, the only way to do, you have to practice. Getting a cheap drum will definitely help in the sense that you're taking something that was maybe not potentially could not sound as good as a great drum. And if you practice enough, you'll eventually be able to get that cheap drum to sound pretty good. And from there on out, working on higher quality drums becomes a lot easier. So I guess in the sense of like, you know, if you're going to play guitar, learn how to play acoustic first so you can build up the strength. And then switch to electric. It becomes a lot easier. Same sense with a lower quality drum to begin with. As long as the edges are secure and straight and sharp, it probably would not be a bad idea. How about instead of cheap, inexpensive? Inexpensive is better yeah. Inexpensive yeah. If you can find a mid-line drum that's used but in good condition, that's probably the best way to go. I think it should be said also that, practicing this stuff should involve actually recording the tones. Yeah, not just tuning. Yeah, not just tuning. The not just tuning the drum, then okay. Let me take the head off and try again. Yeah, you should go through the whole process and see what, you know, get the tuning and hear what it sounds like in the room and then maybe, you know, record it. And that way you know what the mic sounds like versus what it sounds like in the room. And you can start to hear the differences and you'll be able to educatedly guess where you need to go tuning-wise before before you get there. So I think on the topic of tuning, I think today people are actually going to really see you tuning in action cause we're going to go through all the drums we have available and choose what rules and what doesn't rule. But the thing that I kind wanna get out there though is to, let me just, how long have you been doing this? Well, I've been playing since I was three, so 37 years. I've experience with drums. And then I've been actively working as a tuning guy for 25. And how long, I mean, even though you grew up with drums, how long do you think it was before you started to really wrap your head around how to tune? Probably a good four years of constantly tuning my own stuff and trying to figure out how Dave Weckl got this drum sound or how Neil Peart got this drum sound with only having one drum kit to use. It took a long time. It was a lot of experimentation. I'm not trying to bum anybody out in the audience, more just say that any of this take a long time. Yeah, it's just with anything. You have to be able to develop your ear to be able to hear what you're doing in regards to every facet of music. You know, it's not just tuning a drum or moving a fader. You gotta practice on everything. It takes time. Yeah, I remember when I first started learning how to tune drums. It took me about six months before I got something that was even decent. I still don't think I'm very good at it. But I think that people just need to know that you're not just going to watch this class, write down what he said, and suddenly be awesome at tuning drums. Oh no. But you watch what Matt said about tuning drums, write it down word for word and then just keep coming back to it over the course of a year. You gotta think about it like any educational material. If you were doing this as an internship, you would be going in, watching, and observing on a regular basis, over and over and over. And then when there was free time, trying it out on your own. Yeah, you should definitely approach any classes really with that aspect in mind of, okay, if I really want to get better at this, I have to not only revisit the material over and over and over but I have to practice this over and over and over again. And you know, there definitely comes a point where you start to understand the physics of what's happening, and that will help you make more educated choices of where you want to go for the final product. Yeah, I know that when I learn something, usually when it's like information overload. For instance, what you talked about yesterday with tuning, if that was the first time I ever heard it, that would be information overload. I know that with information overload situations, I'll take them in, try to understand as best I can, go over it, and then maybe not think about it for like a week. Then try again, kind of understand, and still kind of suck at it. But then by revisiting, there usually comes a day where like suddenly it clicks. And I felt the same way with guitar when I was trying to get fast. You try to get better with scales, and you're sucking, you can't get faster. But you keep at it, keep at it, keep at it, and then one day suddenly you're 50 BPM faster. Right, a breakthrough happens. Yeah, it's the same thing. Yeah, so I definitely think that, you know, shameless plugs and everything, but you're going to get the most out of this class if you can actually revisit this material. Oh for sure. Because this is a lot of stuff to just try to take in in just one sitting. And so that said, let's get on with it. Yesterday, we went over the heads, how to tune, and they types of drums. So the next step in getting a sick-ass drum tune is to actually put on some microphones and hear where we're at. So we got Adam the drummer to set up his kit how he's comfortable. And we put up a few microphones. Nothing's placed really like in detail. These aren't the final place fits. They're just close enough to know if it sucks, if it's great, or it's close. But before that, let's just listen to some Gojira. Some Josh Wilbur mixes. I think Josh is one of the very best metal mixers there cause that's kind of what the band wants as a reference for the drum tone, so one thing that we always like to do before we record something is to just get some sort of a reference in our mind for where we're going. It's not like you can actually copy it. No, but the advantage for me as a technician is when you play me a sample of a reference of a track of okay we want the drums to be in this neighborhood. Because I know the drums that we have to work with and the head choices that we have to work with and all that, I can help make that easier by saying oh well that snare drum has a lot of body to it but it's also is a very bright. So we want to go with something that's more of a steel size. You know, a steel drum or the toms or for example in the Gojira theme, the toms are very short. So we have three selections out there that are all short in nature, but there is one that might come out a little better because of how short we want to go with it. And so we'll have to figure that out. But at least we have made the right head selections to know that with the tom sounds, we wanted that open and bright and a lot of punch and low end to it, so we went with clear heads to help all the drums speak in the same type of manner. And now we're relying on the actual drum shell material to dictate that choice for us. And then once we get that, it'll go into okay, what type of muffling scheme are we using to, you know, either make them a little bit shorter or get rid of the overtones, and there's no overtones on that snare drum so we'll have to do a little bit of magic with the snare drum and the the toms. Even if we switch out the drums, we might have to do a little bit more with the muffling scheme on the toms to make them really fit where the reference was. Well yeah, when you tuned them yesterday, they already sounded pretty good. But I mean honestly, that's just the starting line in my opinion. Right. Having the drums decently tuned is the starter. From there on, the real work begins in my opinion. Right and then we also have to address the issue that we haven't talked about yet which is really like the drums on a stand sound different than the drums do in your hand when you're tuning. So it could sound great in your hand and as soon as you put it on the stand itself, the stand is interfering and reacting, or making something sound better. The sound will change once the drum goes on that stand, or the floor tom goes on it's legs. So we'll have to make those adjustments to the tuning at that point as well. And through a microphone. And then through a microphone yeah.

Class Description

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


  1. Intro to Bootcamp
  2. Purpose of Pre-Production
  3. Technical Side of Preproduction
  4. Pre-Production: Setting Up the Tempo Map
  5. Pre-Production: Importing Stems
  6. Pre-Production: Click Track
  7. Creating Tracking Templates
  8. Intro and the Tone Pie
  9. Drums - Lay of the Land
  10. Bearing Edges
  11. Wood Types
  12. Depths and Sizes
  13. Hoops
  14. Sticks and Beaters
  15. Drum Heads
  16. Drum Tuning
  17. Drum Mic Placement Intro
  18. Basic Drum Mic Setup
  19. Cymbal Mic Setup
  20. Touch Up Tuning
  21. Microphone Choice and Placement
  22. Drum Tracking Intro
  23. Getting Tones and Final Placement
  24. Primary Tracking
  25. Punching In and Comping Takes
  26. Guitar Setup and Rhythm Tone Tracking
  27. Amplifiers - Lay of the Land
  28. Amplifiers & Cab Shoot Out
  29. Guitar Cab Mic Choice and Placement
  30. Guitar Tracking and Signal Chain
  31. Finalizing Amplifier Tone
  32. Guitar Mic Shootout Round Robin
  33. Intro to Rhythm Tracking
  34. Setting Up Guitars
  35. Working with a Guitarist
  36. Final Guitar Tone and Recap
  37. Guitar Tracking with John
  38. Guitar Tracking with Ollie
  39. Final Tracking
  40. Tracking Quads
  41. Intro to Bass Tone
  42. Bass Tone Setup
  43. Bass Tone Mic Placement
  44. Bass Tracking
  45. Intro to Clean and Lead Tones
  46. Clean Guitar Tones
  47. Lead Tones
  48. Vocal Setup for Tracking
  49. Vocal Mic Selection and Setup
  50. Vocal Mic Shootout
  51. Lead Vocal Tracking
  52. Writing Harmonies
  53. Harmony Vocal Tracking
  54. Vocal Warm Ups
  55. Scream Vocal Tracking
  56. Vocal Tuning and Editing Introduction
  57. Vocal Tuning and Editing
  58. Routing and Bussing
  59. Color Coding, Labeling and Arranging Channels
  60. Setting Up Parallel Compression
  61. Setting Up Drum Triggers
  62. Gain Staging and Trim
  63. Drum Mixing - Subtractive EQ
  64. Drum Mixing - Snare
  65. Drum Mixing - Kick
  66. Drum Mixing - Toms
  67. Drum Mixing - Cymbals and Rooms
  68. Drum Mixing Recap
  69. Mixing Bass Guitar
  70. Mixing Rhythm Guitars
  71. Basic Vocal Mix
  72. Mixing Clean and Lead Guitars
  73. Mixing - Automation
  74. Mastering - Interview with Joel Wanasek



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!!!!!!!!


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.