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Recording Metal with Eyal Levi: A Bootcamp

Lesson 39 of 74

Final Tracking


Recording Metal with Eyal Levi: A Bootcamp

Lesson 39 of 74

Final Tracking


Lesson Info

Final Tracking

It's got this modulated chorus. So what's the difference between this chorus and the earlier ones in the song? Okay so the song is currently in triplets at the beginning, so you know you got four four symbol and a four four snare and the kicks are in triplets. Let me play them, just a snippet of the earlier chorus so they can hear what you're talking about. (rock music) And here the second part we have the modulated chorus which isn't a tone modulation, it's actually a time modulation, we're actually in the same tempo technically but what we've done is we've put the symbols and the snare in triplets as well, so technically it would be standard eighth or 16th notes at this point. And yeah, if you have a listen I can play along with the chorus if you want. Sure I'll even track you, why not? Why not? Ready? Yeah. (rock music) So just before we do that, do you have any tricks that you would recommend for people to be able to internalize modulations like that and understand ...

them better, because I think it's a tough concept for people. I guess it would be if you're in triplets, just try copying and pasting what you have from before. Firstly to see if it works because obviously that doesn't work for every single type of riff in triplets, then once you hear it you'll get used to the fear of it and then be able to play it in yourself as well. So I guess that's the way, it's just trial and error isn't it? Most music is. Yeah most music is yeah. Alright let's do that again, alright let's track this. How much lead in do you want? A little bit more than that. A little bit more, sure, how about this? (rock music) Sounds like you started to really tighten up towards the second half. Yeah I agree. I can play the first half again if you want. Yeah, was that amount of lead in good for you? Yeah, it's great. Okay cool. (rock music) Nah let's do it again. Yeah, I'm hearing that low string fill out. Stock vibrate. I would do vibrato. No when you hit the opens. (rock music) I'm just wondering if maybe that string is starting to go. That's fine, let's try it one more time, if you still hear it then we'll change the string. Cool. (rock music) That was pretty good. Yeah let's get that transition at the end of it. Yeah, great. I'll start you half way. (rock music) Okay so let's double that and then start refining it from there. So with the way I work with John, since he does lots of things in single passes, we'll often times go all the way through a riff, get it to where it's pretty good, then double it, and once we have it doubled and pretty close then we'll start refining individual little pieces until we're both happy with it. Alright, ready? Yeah. (rock music) You keep going because you had some really good feel on that one. Cool. Alright let's see where it works and where it doesn't. (rock music) You know what would be really helpful and we would wanna have Ollie do this because he played the thing-- Yeah you want me to play just the after bit, right? Yeah just play the riff into the first note of the, so why don't we fix the rest of the modulated chorus or whatever you gotta do, then we'll have Ollie literally play, di da di da da. Da da da, yeah. Yeah. Okay, well I'm pretty happy with that chorus, I don't know about you. We'll listen to it again. (rock music) Right there. There's that ring out isn't it, the two notes. (rock music) That line, are you cool with that line? Yeah I'm cool. (rock music) At the end here kind of fell apart I think. Okay, yeah I can do that. (rock music) Both, alright. You ready? Yup. (rock music) That's great. Okay, give me the other side. Yup. (guitar riffing) Thank you, I like that. (rock music) Yeah, okay so let's give the guitar to Ollie and let's fix that one thing and move on. (rock music) Do you still want that little mute? Yeah, it's over mute, da da da. (playing guitar) In all honesty I'm probably not even gonna keep you playing those first notes, I just wanna get the transition from what you played into what he's played. So I'm gonna go. (playing guitar) Yeah. And you're gonna do whatever. And I'm gonna do my thing, yeah. (playing guitar) Ready? (rock music) Cool, thank you. So literally what I'm doing here is I'm taking this space between the riffs. (guitar riffing) That, that's all I'm taking of both sides, so that it doesn't sound like it was cut together. (rock music) Okay. I'll just do this right here. (rock music) Cool, just about there. I'm just gonna cross fade and it should be good to go. And then what, onto the last riff of the song? Yup. Wow, crazy, alright. (rock music) Alright great, so is that you? Yeah. Alright cool, so check that tuning. Yeah no problem. And let us proceed. I just need to check something for my own sake here. Is it the iTunnel? I just wanna hear if we're losing high end here. And what I'm doing right now is I just wanna hear if I feel like the bottom string's going dead. Yeah let's take off the... (rock music) Okay, so that's what we just tracked, and here's the beginning of the song. (rock music) I think it's pretty close. Very close, let me, I'm gonna actually copy paste and then we can do a serious A B. I do this towards the end of songs sometimes just to make sure that we're not finishing the song with dead strings because the tone will sound far darker in the beginning. (rock music) And we're fine, okay, okay cool. Just wanted to check. (rock music) That sounds good to me. Okay cool, ready? (Rock music) I think somewhere in the middle you started to lock in, let's just hear it. I know the beginning was shot and the end was shot. (rock music) I thought up to the middle, to there, where it was there, it's quite, no no no back back back, a bit forward, one more one more, thought up to there was pretty good. From the beginning? Yeah. (rock music) Alright, so why don't I punch you in somewhere around here? Yeah, there's a couple of little noises but I think when there's a second one in there it'll like blend together well. Yeah. Where do you want me to start playback? Right from the start, this is a really weird feeling riff. (rock music) Can we punch in the very end. (rock music) Like literally this thing. (rock music) Yeah. Okay. Right in the bit before as well maybe. Okay. Let's play it, just let it play from before if you would. (rock music) I like the ending of it but not the part with the-- (playing guitar) That's the part that Ollie usually plays. (playing guitar) I like that. Yeah I think so, that's good. It's actually really good. (playing guitar) Let's just get the Ollie riff. (rock music) That was good. Mhm, and does it repeat? Yeah but it's probably best if I play it. Well yeah let's do the double first. Okay, you ready? (rock music) I think that was a lot better. Second half I feel. Yeah let's do second half then, there's a couple of weird noises in that bit. The question, yeah the thing is, are they good or bad, I think it's a stylistic choice. I mean do you like them or not, that's the question. They don't bother me. Don't bother me. Okay, alright, so then let's get, I'll start you at the beginning because it's a weird riff. Is that okay or? Start me just wherever, yeah it's fine. (rock music) Again, that was better. (rock music) That was pretty sick. Okay. Just when you think the song's over, so what happens here? There's a gap and then it goes into the riff again. Slightly different. But you should play it as, okay, last riff of the song. Yeah let's do it. So you wanna go from back there. Ready? Yeah. You come in on the drums? Yeah. (rock music) Oh that was good up until there though. I'm gonna punch you in because that was good, ready? (rock music) Neat. (rock music) Alright, you wanna double that? Yeah why not? (playing guitar) I was gonna say that if we had any more than one riff left that we change strings, yeah. Ready? Yeah. (rock music) That was a lot tighter. (rock music) Cool. Cool, good job. Got one done. Alright. Well that wasn't so bad was it? Mhm, that was alright, three hours, two hours. Something like that for some basic rhythms. So I think that I would like to get an alternate tone and emphasize some of those super heavy parts to really really bring them out, obviously we don't have that tone set up, but that's something that I would like to do because I have something in mind for that which I know you already would know hwo to do. I have something in mind that is part of the John Brown signature sound anyways for some of these parts that I'd like to do later once we get that hooked up. But as a solid basis for the song I think these are good rhythms and good to go. They're jut a reminder that I'm not editing these guitars because of how good John and Ollie are. In real life I would edit as I track because it's much easier to double guitars to something that's tight. If you're working with someone that needs to be edited to drums that are to the grid and the album demands that level of perfection or the advantage is not that tight, so you have to make them tight. I edit as I go because it's nearly impossible to double a guitar that's not tight. So we're not covering that in this boot camp. If you'd like to see a video I'm making about guitar editing, just go to URM.Academy/metalrecordingbootcamp and you'll get a guitar editing video that will cover all that stuff. Alright, let's move on. Cool guys.

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.