Recording Metal with Eyal Levi: A Bootcamp


Recording Metal with Eyal Levi: A Bootcamp


Lesson Info

Drum Mixing - Kick

Start getting rid of all the kick. There's a lot of stuff in these rooms that as soon as I turn them on, they're cool because they kind of glue everything together, but at the same time, there's just wild stuff going on, like that kick, and like those trash frequencies, so I gotta get this under control, but I don't wanna completely kill them, because they definitely add nice body and life to the kit. (fast drum beat) All right. Starting to sound like something. And check out these toms real quick, and then come back to other things. I'm muting these. (fast drum beat) (slow drum beat) Okay. (slow drum beat) All right, so I'm gonna do some global EQ stuff. I'm raising them up. They already sound all right, but there's some problems I need to solve. I'm raising them universally at 8 and up. Maybe I'm gonna go to 10, because that's gonna help the high end peak over the guitars, help us hear the toms throughout a very, very dense mix. (slow drum beat) Filtering out the very, very lows. The...

re's nothing like the low end of toms to destroy a mastering chain, so I'll just get rid of that. (slow drum beat) Just looking for all the nastiness, 'cause there's quite a bit, and I'm gonna cut it. Usually it happens kind of around the 500 to 800 region on the toms. Just like, I've never found a tom that doesn't have just crap in that area. The mics that I like, a lot of the time, the D6s naturally scoop that, but you still are gonna get it, especially with this room. This room is just adding a ton of that garbage. (slow drum beat) Also some grossness down there. (slow drum beat) It's already sounding better. Sometimes you don't realize it while you're making the changes, but always bypass, to see where you were before. Listen with and without. (slow drum beat) And try to bring down some of those highs just a little bit in the bleed. Where is it? Just try to be gentle about it though. (slow drum beat) I don't really like compressing toms much, but I do like limiting them as well as cliffing them, because it sounds cool. (slow drum beat) (fast drum beat) So by themselves, you might get carried away into thinking that they sound a little weird, and a lot of things sound weird by themselves, but just pay attention to what happens, now that I put the drums back on. (fast drum beat) As opposed to before. (fast drum beat) I'd say we're in better shape. (fast drum beat) I still have a little bit to do to these. First of all, I'm gonna send them to the drum verb, and see what happens. (fast drum beat)

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

What comes with purchase of the class?


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