Lessons
Intro to Bootcamp
13:45 2Purpose of Pre-Production
15:55 3Technical Side of Preproduction
11:33 4Pre-Production: Setting Up the Tempo Map
12:05 5Pre-Production: Importing Stems
10:11 6Pre-Production: Click Track
15:27 7Creating Tracking Templates
17:04 8Intro and the Tone Pie
04:52Drums - Lay of the Land
10:45 10Bearing Edges
03:10 11Wood Types
10:37 12Depths and Sizes
04:00 13Hoops
02:39 14Sticks and Beaters
07:39 15Drum Heads
07:31 16Drum Tuning
1:03:55 17Drum Mic Placement Intro
10:38 18Basic Drum Mic Setup
53:37 19Cymbal Mic Setup
35:25 20Touch Up Tuning
46:56 21Microphone Choice and Placement
40:34 22Drum Tracking Intro
01:01 23Getting Tones and Final Placement
34:52 24Primary Tracking
31:54 25Punching In and Comping Takes
20:11 26Guitar Setup and Rhythm Tone Tracking
01:59 27Amplifiers - Lay of the Land
10:01 28Amplifiers & Cab Shoot Out
27:13 29Guitar Cab Mic Choice and Placement
03:56 30Guitar Tracking and Signal Chain
29:08 31Finalizing Amplifier Tone
51:24 32Guitar Mic Shootout Round Robin
05:22 33Intro to Rhythm Tracking
07:46 34Setting Up Guitars
15:02 35Working with a Guitarist
05:05 36Final Guitar Tone and Recap
04:11 37Guitar Tracking with John
15:19 38Guitar Tracking with Ollie
32:03 39Final Tracking
22:08 40Tracking Quads
33:44 41Intro to Bass Tone
01:26 42Bass Tone Setup
07:36 43Bass Tone Mic Placement
16:42 44Bass Tracking
45:09 45Intro to Clean and Lead Tones
02:15 46Clean Guitar Tones
34:05 47Lead Tones
10:58 48Vocal Setup for Tracking
11:27 49Vocal Mic Selection and Setup
02:39 50Vocal Mic Shootout
09:14 51Lead Vocal Tracking
38:09 52Writing Harmonies
07:44 53Harmony Vocal Tracking
23:25 54Vocal Warm Ups
11:40 55Scream Vocal Tracking
18:57 56Vocal Tuning and Editing Introduction
01:35 57Vocal Tuning and Editing
29:26 58Routing and Bussing
25:16 59Color Coding, Labeling and Arranging Channels
17:54 60Setting Up Parallel Compression
30:51 61Setting Up Drum Triggers
10:41 62Gain Staging and Trim
1:00:54 63Drum Mixing - Subtractive EQ
25:39 64Drum Mixing - Snare
23:01 65Drum Mixing - Kick
11:39 66Drum Mixing - Toms
24:47 67Drum Mixing - Cymbals and Rooms
17:24 68Drum Mixing Recap
08:58 69Mixing Bass Guitar
16:27 70Mixing Rhythm Guitars
1:16:08 71Basic Vocal Mix
1:08:59 72Mixing Clean and Lead Guitars
58:55 73Mixing - Automation
43:36 74Mastering - Interview with Joel Wanasek
31:02Lesson 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 Materials
Bonus Materials with Purchase
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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Audio Engineering