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Recording Metal with Eyal Levi: A Bootcamp

Lesson 25 of 74

Punching In and Comping Takes


Recording Metal with Eyal Levi: A Bootcamp

Lesson 25 of 74

Punching In and Comping Takes


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


  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.