Punching In and Comping Takes


Recording Metal with Eyal Levi: A Bootcamp


Lesson Info

Punching In and Comping Takes

Basically we just got maybe six takes of Anna playing through the song and they were all really awesome except some were better in some parts than others. We're basically comping together a master take out of all the different takes that he made of the song, so that we have the best of all worlds here. Okay so this is the first one, it had good energy. This is the one we didn't like and this was the first one that we really liked. So we'll start with this one. (hard rock music) The other one you played before that was better. Yeah, the other one before this was better, than the one you played. Interesting 'cause we didn't like it as much while we were-- Listening. Yeah. (hard rock music) This is the one you played first (mumbles) yeah? (speech drowned by loud music) This is what I'll do, I'll try to... (muffled speech) (both laughing) Well let's just see it. (chuckles) Alright, so we didn't like the beginning of five, let's hear the beginning of six. We just get this all ...

again? Yeah. (hard rock music) I like this one. Yeah it's good. This one's good, yup. Yeah. It does feel good. Yeah and I believe that's the final five six and duplicate six seven. This is the final one we have where he played it all the way through. I guess it's between that first part and the one a take ago that we liked. This one's better. Now this one's better. This one's better, it has the-- The least amount of movement. However, we're gonna have to find another for this 'cause this is where he messed up. (hard rock music) So let's find another take where-- Do you want me to write this down? Okay write down that we like riff one from take five dash six. Now we gotta find a good riff too, well, the chorus. (hard rock music) That one's good. It's okay, (mumbles). What one was that one? What's that? That was four dash five. Let's see how three dash four is. (hard rock music) Nope, either one was better; the first one we listened to. Which is five dash six, I mean four dash five. (hard rock music) That was cool, riff three in that one was cool, but let's go check five and six 'cause that was one good on the last take as well. (hard rock music) I think I liked the other one better. That was take four and five, wasn't it? Yeah. (hard rock music) So we like the beginning from five dash six, right? Then riff two and three from-- Take four. Okay, I'm gonna go ahead and copy those over now. I'm gonna make five dash six the master take and we'll just move everything onto there that we need too. You could write that down too, that we're making five dash six the master. Alright, let's see if this works. (hard rock music) Let me just mute the music. (drums beating) Cool, yeah we'll be fine. Yeah that's fine. Obviously after we've done the cross-phase and whatnot. Yeah, well I'm gonna send John non-consolidated NSF of this session. Yeah, a complete session that's better. (drums beating) That's cool. (hard rock music) Okay so we know that works, let's see-- (hard rock music) Five dash six. Did you feel like it dropped off here? (hard rock music) Try four or five (mumbles) five, I swear that one was good. Okay. (hard rock music) Yup. (mumbles) the whole riff or just-- Try the whole riff. (hard rock music) This one's better. The exit's kinda shot. The exit is kinda shot; let's see-- (mumbles) three and four. Up to the exit, it was pretty cool. Let's see, three. (hard rock music) That one's a lot better I think. Try the third (mumbles), it didn't-- That was the first take, two dash three. Okay let's see the take we didn't like which is three dash four, let's see how he exits. (hard rock music) That's actually fairly good. I guess it's between those two. Let's give it a little context. Woah, whoops hit the wrong button. (hard rock music) That's cool, so either that or this. (hard rock music) No, no, I'm sorry or this. (hard rock music) I kinda like the subtle one. I kinda like the subtle one as well. (hard rock music) Yeah that's one, what take's that? What's that? That's take three to four, isn't it? That is take three dash four. Now do we want that whole section from three dash four or just the ending? I'd say take the whole section, it looks pretty good. Okay, cool. Grabbin' it now. We're doin' five and six as the master, right? Mm-hmm, so let's make sure this works. (hard rock music) Let me just mute the music. (hard rock music) Yeah, just gonna draw this shit back. (hard rock music) Lemme see somethin'. (hard rock music) (hard rock music) Yeah we would need to do it like that. Yeah, that's fine. (hard rock music) Oh, but line it up to the actual snare right there. (hard rock music) Okay. This isn't from that? What's that? Yeah, okay we are in five dash six now but I already copied that. (hard rock music) (speech drowned by music) Four dash five, let's see what happens there. (hard rock music) (speech drowned by music) I put that right? (hard rock music) (speech drowned by music) That was a cool fill going into that part but right before it was a little-- Play the first take then. (hard rock music) Nope. Let's see if that fill's better though in the first take. (hard rock music) That's a cool fill. Why don't I take that fill and put it onto the other thing? Yeah, that entire section should be a little bit tighter then. (hard rock music) Is that the fill you mean? Yeah, that's the one. (hard rock music) I think (mumbles), that's really cool. Yeah, so kinda like up to here but you were liking it. You were liking this, I believe. I think, let's see. (hard rock music) Yeah that's it. Yeah I just gotta sort where this goes. (hard rock music) That is a cool fill. (hard rock music) No, that right there. (hard rock music) That part is good as well, I remember that part being particularly good. But now we gotta copy this over to the master take. So lemme just see one thing. (hard rock music) Yeah, that's some sic stuff. This is now going onto five dash six. What's that, was that-- That was a combination of things, that was the (mumbles) from the first take glued onto the second take and then all of it moved over to five dash six. (hard rock music) We are done comping drums. I think we've got a really good take here. We're gonna listen through just to make sure that it's awesome, I'm pretty sure it's awesome. Gonna turn down the backing tracks, scratch tracks, just so we can make sure that the drums sound great. You don't wanna trick yourself by listening with guitars that are too loud for two reasons; one: if the guitars are a little bit off, you're gonna trick yourself into thinking that the drums might be off. Also you wanna hear that the transitions all work really really well and sometimes the guitars will mask that, so gonna turn down the backing instruments somewhat and just blast it and have a good time. Party. (metronome ticking) Let's see. (hard rock music) (metronome ticking) Cool. Alright, you wanna hit stop? Done with drums.

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 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



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.


Wow is all I can say. This bootcamp goes in so much depth from tuning drums, setting up guitars, to recording and mixing. I have learned so much by participating in this bootcamp. It has taught me some new recording techniques and signal routing for my mixes. I just want to thank Eyal, Monuments, and Creative Live for taking the time to do this. It has been amazing and I will keep going back to these videos.