Recording Metal with Eyal Levi: A Bootcamp

 

Recording Metal with Eyal Levi: A Bootcamp

 

Lesson Info

Drum Mixing Recap

Hello, I am Eyal Levi and welcome to my Metal Recording Bootcamp on CreativeLive. This is day and if you haven't seen days 1 through 15, it's probably a good idea 'cause we're right smack in the middle of a mix about to get started with guitars and bass and if you haven't seen everything leading up to this point, this might not have any context for you. Anyways, it's a track by the band Monuments called "Quasimoto" that we tracked all up leading to now and I got some basic drums and balances going. Yesterday, I actually fixed some problems overnight, put them in the mix, I'll walk through those and then get going with guitars and stuff. So this is where we're at right now. ("Quasimoto" by Monuments) Alright, so I think that that's better than it was yesterday. I'm still kind of in the dark with what these speakers are doing but I'm not as pissed off so that's always a good thing. Show you some of the differences. Some of the things I made, some of the things I changed. Well I just fig...

ured let's call a spade a spade and I got rid of most of the bass tracks. It was just a lot of work and not much gain cost benefit ratio wasn't very good on the amount of bass microphones that I had. Not that they sounded bad, but just having to wrestle them too much. So I took the POD, the POD track that John Brown made on his POD HD Pro and then I took the DI. I got rid of some of the processing on the toms and just went for group processing and I think they sound better. I think they were sounding a little bit on the push side yesterday but you can hear now that they sound like they sink in a little more. ("Quasimoto" by Monuments) And they just kinda, they just kinda glide in there a little bit better. Yesterday they were kinda, a bit kinda annoying. ("Quasimoto" by Monuments) And I'm going to turn up the floor tom a little bit. ("Quasimoto" by Monuments) Now that's what I call awesome. As far as the snare goes, I also, I got rid of some of the samples, redid some of the balances and, simplified a little bit of the chain 'cause I feel like it might have been going a little bit overboard yesterday. I got rid of the parallel bus on the toms, I got rid of the parallel bus on the bass and I got rid of a parallel bus on the kick as well. I redid the kick a little bit to be a little thuddier and less clackity clack. We can check that out. ("Quasimoto" by Monuments) Those are just the scratch guitar tracks, I mean the scratch guitar tone. (rock drum beat) Also gave the snare a little bit more beef so it wouldn't be so cracky and annoying but it's still pretty cracky. Any more beef and I feel like it might've gotten lost with the guitars but we'll see once we start really working on them. (rock drum beat) Let me go from the beginning so you can hear those toms coming in again. (rock drum beat) There's one thing that I did not touch yet that I feel as though I should touch. (snare drum hit) Got a snare room here by Steven Slate. It's going, it's routed to the cymbals but just before I forget, I'm gonna just do a few things to it. Going to limit it, (snare drum hit) and then I'm going to put a transient designer on it to get rid of some of that crack so that it's more about just length. So where are you, SPL. (snare drum hit) And I might add some harmonics to it. We shall see, we shall see if it works. Where you at Decapitator? Oh, wrong menu. Funny how that happens. (snare drum hit) I'm just curious. What presets do they have for snare? For drums? Snare Accent, Thumpy and Bumpy huh? How about Room Driver? (snare drum hit) How about not. This might not be a good idea. (snare drum hit) Ah, that was good. Drum Fattener 3, perfect. That's exactly what I wanted. (snare drum hit) (drum beat) And of course, this is too loud. And now our snare's just a little bit longer. I didn't wanna forget to do that. ("Quasimoto" by Monuments) Reason that I'm doing this with music playing is 'cause it's really hard to know how long that tail is or if it's even audible when you're playing it by yourself, by itself. ("Quasimoto" by Monuments) Okay, that's pretty good. There's some automation stuff that I'll have to do later on but for now, I think it's good to move on.

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?



Lessons

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
13Hoops
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