Recording Metal with Eyal Levi: A Bootcamp

 

Recording Metal with Eyal Levi: A Bootcamp

 

Lesson Info

Mixing Bass Guitar

As far as bass goes there's nothing too complicated going on. (Heavy bass music) I'm gonna move the bass track up next to the aux so that I can walk you through what I did. (mouse clicking) I don't know if you remember but we put four microphones on a base cabinet. In all honesty, I never use base cabinets. It's a very rare thing. I don't feel like they go quite low enough and I always have to do way too much work to get them to work. There are some guys though who do a great job with base cabinets and, more power to them, but they're just not my thing so. Generally not my thing. (Heavy bass music) Okay. So... we've got. Right here, bass DI. I'm going to get off narrow mix. Just make it easier for you guys to read. Okay. So, we got the bass DI the regular bass DI. The bass pod, and then a duplicate but I got that turned down all the way so that doesn't even matter. Bass pod, I've got a low cut on it everything below about 298 is gone and then on the DI, I've got it at a hundred and dow...

n. You guys are familiar with how to do this, this is one of the most talked about bass techniques ever where you have one sound for the low end and another sound for the mids and high's so that you can affect them differently normally you would get that by splitting the DI into two. I guess technically this is kinda like that, except that this DI went through the bass pod first. But it would still play it at the same time. They're both limited, the bass pod has a little more distortion from decapitator and then, they both have 1176's on with quick release, quick attack, low ratio. Very, very low input so it just kinda kisses it and keeps it from peaking out (Heavy bass music) which is important because he plays really, really hard and this song goes back and forth between pick and fingers and it's absolutely man-handled, which means that there's all kinds of transient spikes and even volume things happen which is the exact opposite of what you want on bass. You want bass to basically be like a flat line holding down the bottom of the mix. So, yeah you've gotta handle things appropriately. Then we've got this bass bus where these are all sung together and a little bit more learning. Here I did some EQ to get it to fit with the drums a little better. I cut out, 80 is kind of where I'm emphasizing on this kick I mean on this bass I want the kick to emphasize around and the bass to emphasize around 80. So I boosted 80 and I've cut 60 harshly, outta here as well as DI, all the way down to this 200-ish range, I'm just trying to get it outta the way of the guitars. If I was really being crazy, which I might be right now. I might... Might do that. To get it even further outta the way of the guitars. Because that's where the very low of the guitars is gonna be sitting. I did a very steep cut off, 35 and below you don't need that stuff. Just adding headroom into the mix. I cut out this garbage area of the bass I mean I'll let you hear it with and without. (Heavy bass music) Good. There's a lot of note in this 800,900 region so I boosted that a little (Heavy bass music) It's important to start to play back some music with it because you can get lost in the sea of distortion and totally lose track of where you're at you may think that you're adding too much of a certain frequency and then you start playing everything back and it disappears, you want enough between eight and one in the bass so that you can have some note definition and then at two k again you can help it out a little more but you just gotta be careful when you're using distortion. Because there's gonna be some nasty, nasty ringing frequencies, I basically just roll off past that because who needs it anyways in base not a lead instrument. Also... I've got the kick side chained in to duck the low end of the bass. What that means is that every single time that the kick hits, let me just show you. I've got a sand on the kick. Called bass ducker. You can see. Goes in to bass ducker right there on the multi-band, that's on the bass And basically the low end of the kick is ducking the low end of the bass so every time the low end of the kick hits it turns down the low end of the bass an appropriate amount that keeps them from muddling together, it's just one more trick to use. I've also got the high mids and the high's compressing so that they just don't stick out weird because that's what bass will do to you, so... (Heavy bass music) It's a little subtle, but listen to how much more unruly the lower end gets and how much more distracting the high end gets when I turn that off. (Heavy bass music) going to be a little more subtle. Check it out. (Heavy bass music) cool, then we are headed to the bass aux which I did just a little bit more EQ-ing I got rid of a little bit more of this garbage 500 area, boosted a little bit more of two the two-ish area and got rid of some more high's and rolled off a little bit more. Sometimes I feel like I need to emphasize what I already did once before for whatever reason. We'll try before and after. (Heavy bass music) One thing that might be useful we turn 80 up just a hair. (Heavy bass music) notice I have it on bell because otherwise it's a shelf, I want just 80 coming up. If you notice when I don't have that on, the low end shifts a little bit lower which by itself sounds cool but that's exactly what I'm trying to have it not do, I'm trying to have the low end come up a little bit so that we can focus 60 on the kick, I want the kick beneath the bass on this. (Heavy bass music) I don't need two instances of that. That is a mistake. (Heavy bass music) And I think this might work or at least it'll get us started. Just a combination of... (Heavy bass music) You know I feel like one more stage of multi-band might be appropriate here. (mouse clicking) On the low end of the bass (Heavy bass music) (mouse clicking) (Heavy bass music) It's a lot more controlled now. (Heavy bass music) Probably hard to hear that stuff for some of you guys that are on headphones or small speakers. It's hard for me to hear it too it's got not sub in here so I'm kinda flying blind a little bit, hopefully it helps. (Heavy bass music) (mouse clicking) (Heavy bass music) (mouse clicking) (Heavy bass music) alright, now that's something I'm probably gonna just keep coming back to, it's always the part that takes the longest is getting that low end right. Sometimes it takes five minutes, sometimes it takes a week. You never know how long it's going to take, but now move on to some guitars.

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