Recording Metal with Eyal Levi: A Bootcamp


Recording Metal with Eyal Levi: A Bootcamp


Lesson Info

Pre-Production: Importing Stems

So first thing I would do is get the tempo map in. Got that in. Got the markers in. They already have that done. If they didn't then I would do it in another order I would import their session. I mean their bounces. And then start creating the markers in tempo map from there. Now you just need to make sure that what they send you are actually stemmed out. Meaning that they're all consolidated to the zero point. So start by importing their Pre Pro stems. And the clicks. So, mind you, I'm hitting copy all. Because I actually want to copy these into my audio drive. If you're just one person and you never switch computers. This may not seem like a huge deal. But if you're going from room to room you wanna' make sure that those files are in the actual audio files folder for the session. So, copy them all in. Yes, I want them in the audio files folder. Any questions while this processes. Well Justin wanted to know I guess explain the zero point consolidation. Sure. Or what is consolida...

ting to (mumbles). I will show you an example when this audio gets in. Basically, what it means is that, if an audio file is cut up into various pieces or starts not at the start of the session that you basically create a version that glues it all together into one audio file that starts at zero. So that if you were to export it and someone else was to put into their DAW all they would have to do is pull in the stems line them up at zero and everything would work. They wouldn't have to hunt around for where everything goes. Which is one of the most annoying things ever to have to do. If you're getting audio from other people. Is to have to guess where it should go. You should just be able to pull it into the session; have it all work so. Hitting new tracks. Boom. And... So that's what it looks like when it's consolidated. Yeah so let's just say that... that's not consolidated now. So if I were to export these, if I was sending these. Say if this was the end of the line. You know, this is my recording and I'm sending it to somebody else to mix and I'm bouncing all this out and I send them this, and this, and this. See, all they have to do, whoever it is, is pull these into their session. Stick them against the zero point right here at the start. And everything will line up. However if I export this, like this. Then it'll actually start right there. If they line it up. That's not the right place clearly. Then they'll have to either, hit you up and tell you that you did it wrong or they'll have to guess that it goes right here. And that can't get rather annoying. Specially when you have lots of vocals. People are notorious for doing this with synths. When you get on the consolidated audio like this the true meaning of subjective comes... It really like comes forward because, it's really really interesting where you might think that a piece of audio should go as opposed to where the band intended for it to go. So you're kinda' lettin' people's creativity engage on stuff that it shouldn't engage on if you send unconsolidated stems. So on Pro Tools, the way you would do this is you would select that and then drag it all the way to zero and the Shift + Option + boom, problem solved. Okay, so, let's see what we got. First things first is I'm gonna' rename this stuff so that it's easier for me to look at 'cause everything is zero, seven dash. So... Remove this number and then I'm gonna' call this Pre Pro underscore Backup Vocals, okay. Pre Pro undescore, common', underscore, you bastard. Underscore Base Guitar. Okay (mouse and keyboard clicks) Pre Pro, underscore, Cleans. Explain why I'm doing this like this in a second. Pre Pro, underscore, Lead Guitars. Rhythms. Samples. And, you know, since I know that these are actually synths and I don't want any confusion between, these and drum samples for instance. I'm gonna' actually call this Synth. Whoops, did I miss anything? And... Okay so I'm gonna' call this Pre Pro Instrumental. (mouse and keyboard clicks) I'll just call this Click. You're Song No Click. All right, cool. The reason that I do this the way I do it is... Now you'll notice this also later on, some of you guys who have seen my other Creative Lives or heard the podcast or whatnot know that I like to do things this way. Basically, I always put what type of track it is in abbreviation up front. Like, if it's GTR, if it's guitars I'll put G/RH for rhythms or something or G/Cleans. That way when you export these or you look at the audio files menu if you do it alphabetically all the guitars will be together, all the pre pro will be together, all the vocals will be together. You won't have to hunt around for stuff. It's just one more step at being efficient with your life. So... And then the last thing I'll do is just kinda' group things together, kinda' in a logical order. Cool. Now... So let's check their instrumental. I'm actually gonna' add a master fader. Just in case the output is blaring or something. I don't wanna' kill you guys. I'll just put a trim on it. (mouse and keyboard clicks) I'll route this all to the master. (heavy metal music plays and stops) (heavy metal music plays) (heavy metal music stops) I'm afraid that's... (heavy metal music plays) (heavy metal music stops) Getting something like that from a band it's so great. Most bands aren't capable of doing something that sounds this good. But, God, what a relief when they can right?

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