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Guitar Cab Mic Choice and Placement

Lesson 29 from: Recording Metal with Eyal Levi: A Bootcamp

Eyal Levi

Guitar Cab Mic Choice and Placement

Lesson 29 from: Recording Metal with Eyal Levi: A Bootcamp

Eyal Levi

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Lesson Info

29. Guitar Cab Mic Choice and Placement

Lessons

Class Trailer
1

Intro to Bootcamp

13:45
2

Purpose of Pre-Production

15:55
3

Technical Side of Preproduction

11:33
4

Pre-Production: Setting Up the Tempo Map

12:05
5

Pre-Production: Importing Stems

10:11
6

Pre-Production: Click Track

15:27
7

Creating Tracking Templates

17:04
8

Intro and the Tone Pie

04:52
9

Drums - Lay of the Land

10:45
10

Bearing Edges

03:10
11

Wood Types

10:37
12

Depths and Sizes

04:00
13

Hoops

02:39
14

Sticks and Beaters

07:39
15

Drum Heads

07:31
16

Drum Tuning

1:03:55
17

Drum Mic Placement Intro

10:38
18

Basic Drum Mic Setup

53:37
19

Cymbal Mic Setup

35:25
20

Touch Up Tuning

46:56
21

Microphone Choice and Placement

40:34
22

Drum Tracking Intro

01:01
23

Getting Tones and Final Placement

34:52
24

Primary Tracking

31:54
25

Punching In and Comping Takes

20:11
26

Guitar Setup and Rhythm Tone Tracking

01:59
27

Amplifiers - Lay of the Land

10:01
28

Amplifiers & Cab Shoot Out

27:13
29

Guitar Cab Mic Choice and Placement

03:56
30

Guitar Tracking and Signal Chain

29:08
31

Finalizing Amplifier Tone

51:24
32

Guitar Mic Shootout Round Robin

05:22
33

Intro to Rhythm Tracking

07:46
34

Setting Up Guitars

15:02
35

Working with a Guitarist

05:05
36

Final Guitar Tone and Recap

04:11
37

Guitar Tracking with John

15:19
38

Guitar Tracking with Ollie

32:03
39

Final Tracking

22:08
40

Tracking Quads

33:44
41

Intro to Bass Tone

01:26
42

Bass Tone Setup

07:36
43

Bass Tone Mic Placement

16:42
44

Bass Tracking

45:09
45

Intro to Clean and Lead Tones

02:15
46

Clean Guitar Tones

34:05
47

Lead Tones

10:58
48

Vocal Setup for Tracking

11:27
49

Vocal Mic Selection and Setup

02:39
50

Vocal Mic Shootout

09:14
51

Lead Vocal Tracking

38:09
52

Writing Harmonies

07:44
53

Harmony Vocal Tracking

23:25
54

Vocal Warm Ups

11:40
55

Scream Vocal Tracking

18:57
56

Vocal Tuning and Editing Introduction

01:35
57

Vocal Tuning and Editing

29:26
58

Routing and Bussing

25:16
59

Color Coding, Labeling and Arranging Channels

17:54
60

Setting Up Parallel Compression

30:51
61

Setting Up Drum Triggers

10:41
62

Gain Staging and Trim

1:00:54
63

Drum Mixing - Subtractive EQ

25:39
64

Drum Mixing - Snare

23:01
65

Drum Mixing - Kick

11:39
66

Drum Mixing - Toms

24:47
67

Drum Mixing - Cymbals and Rooms

17:24
68

Drum Mixing Recap

08:58
69

Mixing Bass Guitar

16:27
70

Mixing Rhythm Guitars

1:16:08
71

Basic Vocal Mix

1:08:59
72

Mixing Clean and Lead Guitars

58:55
73

Mixing - Automation

43:36
74

Mastering - Interview with Joel Wanasek

31:02

Lesson Info

Guitar Cab Mic Choice and Placement

All right. So John Brown and I decided that we liked the 3-channel dual rec through the oversize recto cab. After shooting out a few different options, we liked that one the best. So if you notice, the room looks a little different. There's a cabinet missing, the head missing, and there's this giant monstrosity behind me. And what this is is a set of gobos, and gobos are basically a dumb word for portable acoustic equipment or acoustic treatment. You use that when you want to change the sonic characteristics of a room. Like for instance, if a drummer was too live, and you're recording a fast drummer, like at my place in Florida, you might put gobos around the kit to get the mics to sound more focused and get less room in them. In the case of this room, like we've been saying there's a lot of 300 buildup which is gross, something that we don't want in guitars, and so we don't want that getting in there anyways. On the other side of this wood, which the cabinet is, there's also foam padd...

ing, so it kind of isolates it. Now, let me also say that when you're miking up a guitar cabinet for this kind of music, you might be surprised to know that a lot of room will get into the microphones, even when they're right up against the speaker. More room gets in than you would expect, so you really do need to take steps to isolate the cabinets as much as you can. It's counterintuitive. You'd expect that blasting the amp with a microphone that's literally a centimeter away would drown out the sound of the room, but that's just not the case. So, even if this was a great-sounding room and didn't make 300, and didn't sound like it was boosting 300 everywhere, we would still be doing this. So let me show you what we've done. So you can see we've got gobos on each side, and when I get out of here, I'm going to be closing this one off. If this was my studio, I would actually also put one up top to prevent any reflections coming from the ceiling, but, you know, work with what we've given. The cabinet itself is decoupled for the ground. It's lifted up and it's on a foam padding inside that case, and we've got sandbags holding the case down so that it doesn't move, because a movement of even a centimeter can completely change the tone. And as you can see, we've got four SM57's. We picked SM57's because they are the go-to de facto standard for dialing in guitar tone. Now, these are not placed in any great way or anything like that. What John Brown did was he went and listened to each speaker with his ears, and decided that he liked the top right speaker, but just to make sure, we're going to listen to every one under a microphone, because John Brown's ears are not what's going to be sending the material into Pro Tools. It has to go through a microphone. So we have each one of these 57's the exact same distance from the speaker. Then they're all right where the speaker meets the dust cap. It's just a good neutral starting point. We're going to record all of them, and pick what we like best and go from there. And that's it. And then if we get something that rules, and we can just start tracking, great. If we get something that's just kind of okay or terrible, we'll try something else. So that's what's up. So I'm going to close this and we will begin.

Class Materials

Bonus Materials with Purchase

Eyal Levi Bootcamp Bonuses
Drum Editing - HD

Ratings and Reviews

Ron
 

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!!!!!!!!

ceeleeme
 

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.

user-eb82bd
 

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.

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