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Recording Metal with Eyal Levi: A Bootcamp

Lesson 3 of 74

Technical Side of Preproduction


Recording Metal with Eyal Levi: A Bootcamp

Lesson 3 of 74

Technical Side of Preproduction


Lesson Info

Technical Side of Preproduction

Let's just talk about the technical stuff that you have to do besides the song. Build your tempo maps, make clicks for the drummer. You'll see on this session, with Anup Sastry that he was not cool to play to the produced click. He had his own that he made, he programmed it. I can't listen to it because it'll make me insane. But, it gives him all the subdivisions he needs, and it counts things out for him in a way that makes it super easy for him. And I've noticed that lots of drummers need that sort of thing. So, with Anup he just did it ahead of time, that's great. But some drummers won't know to do that and it's kind of your job to figure out if they need to be hearing things differently in order to sink in. Now, I'm sure those of you who play guitar may have noticed if you're trying to practice something to a click and you've got it on quarter notes and it's a fast part and you just can't lock up, you reset it to eighth notes or a 16th note click, it's that much easier. I'm sure yo...

u guys know what I'm talking about, those of you who play guitar and try to do fast stuff. We'll it's the same thing for drummers. Sometimes just getting the quarter or the eight note click is not enough. Sometimes they need to have that subdivision driven home into their skulls. So, make clicks for them, the best way for them. Obviously, lay markers. Goes without saying. It's much easier to skip to the verse when you know where the verse is. Right? Easy to punch in the bridge when you know what the bridge is. Seems simple, again, this stuff seems simple but it's not so simple when you don't do it. It sucks when you don't do it Now some of you might be like "I don't do MIDI bass, I don't do MIDI drums." Blah blah blah blah blah That stuff's for losers. Well look, I understand if that's not applicable to the project you're working on, fine don't do it skip that step. But if it is applicable, try to get that stuff done before you start tracking. For instance, there's a lot of situations now where it makes sense to track live drums at the end. It's actually pretty logical if you think about it. Especially, if it's a situation where you're gonna be tweaking a lot of the song. If that's part of your job, is to make the songs better tracking drums up front really, is gonna lock you into those parts and you'll have to do a lot of editing, all kinds of weird changes if you wanna fix that stuff later. And not that you can't make that work, but it's so much better to actually just have the part played right and recorded right the way its supposed to be. So, if you're gonna be making tons of changes you may as well program drums so that you have all this time to work on the fills and the parts of the drummer and have them learn the changes and then record the new versions of the drums after. It'll feel way better than creating fills out of thin air and cutting things around and all that. Now, I've definitely made records where drums were recorded first and things got changed around, but it's always sounded better when I've done drums last on those type of records. Any questions from anybody? Saving them for the end? Yeah, you're answering a lot of them. They're coming in as we're going through. It's cause I can see through your laptop. That's right. And with MIDI bass that's another one of these things where people might be like "Well we've got a great bassist!" And congratulations, I'm happy for you. That's not why you would or wouldn't program MIDI bass. MIDI bass is really, really good for you to, number one, get a tuning reference for when you track guitars. Especially if you're tuned low. It gets really, really hard to hear if you're in tune and you can't always trust the tuner. Tuning well, and we'll be displaying this when we track The Monuments' guitars. Tuning well is a combination of tuner and ears and feel. And, it helps to have some sort of a guide, a low end guide, to be your north star on this. Because, if you have the MIDI bass in there, even if it's just for reference, a perfect tuning reference, it would be really, really hard to lay out of tune guitars on top of that. It'll just sound completely sour. And then also, if needed, you can then use that to create the bottom end of the bass. 80 and down or something of the mix. Some people like to do that, it's effective. Some people don't, but at least you'll have that all done, right? Why mess with it later if you can do it ahead of time? And then, I already said that you're gonna be tracking as though you're tracking for real. That means capturing the eyes, that means capturing trigger splats if you need to, getting decent enough taste, all that stuff. And, you'll be setting up tracking templates, which we're gonna do here in a minute. That's pretty important. The tracking templates are basically... Let me get these out of my way. I make one master tracking template for pre-pro, which ill kinda just build right here. And, it kinda allows me to do anything needed that's gonna happen in the project. So, if we wanna work on guitars we can just start working on those, and bass we can start working on that, and I'll assign it all to available inputs. Now, I don't have available inputs here, so that won't work. You're gonna have to take this template and match it to your own situation. But the way I like to do it for pre-pro is, set up the drums and leave two channels for guitars so you can have amp and DI. One channel for bass so you can have the bass DI. And a channel for vocals. And that way you can pre-pro whatever you need to while still recording drums. In a moment here I'm going to get into pro tools. Anything anyone wants to ask before I get into pro tools? We do have a question. Do you meet bands prior to recording, if so, what are some of your go to questions for the band before you get into the studio? What do you expect? What are some of the tones you wanna hear, etcetera? I don't always have the chance to meet the bands because I rarely ever work with bands from my area. The best chance would be if we know we're gonna work together and they happen to be coming through on tour, and I'm free that night and everything, then yeah maybe go to the show. But, I'm guessing that he's asking from more like a local perspective, which in that case, yeah why not meet the bands! You get a lot of information just from the way that they interact with each other and the way that they interact with you. And if you can see them live, you can already start to make a few crucial decisions. Like you'll know what's going on but, the things that you want to find out, and I would find this out over the internet too, or like I said before. What's the drummer's set up? Can I have some pictures please? How many guitar players? Is it a rhythm lead type deal? Is it two rhythms two leads? How many vocalists? Is it screaming singing or just screaming? Male, female? Extra tracks? Is there a synth player or you guys gonna want a fake orchestra? Or is this acoustic Christian music? Like what do you guys do, what do you want? And then, what have you done before? And what are you expecting to be different about this? When people start to answer that, the tendency might be to talk shit about their previous experience. And that's totally not what I mean by the question, so I would steer them off of that. That's just kind of human nature to start talking about what went wrong before. More than that, what you're trying to get out of them is what their hopes and dreams are for this coming album. And I guess, where they think that they're going to be taking things next. And you also need to ask, who's the main writer? How many songs do you have written? How many songs did you have written before you recorded last time? How many songs got recorded out of the songs you had written? Are you looking for writing help? All that kind of stuff. Obviously, if its the first time you've ever met them you don't just shake someones hand and just start saying do you need writing help? Does one of of your guitar players suck? It would kind of weird right? Kind of like asking someone for a job after shaking hands with them for the first time. More than anything, I would just try to hang out with them and be cool and develop a rapport at first and just try to get a feeler for the situation. See if you like these people, see if you wanna be around these people for extended periods of time. See if they're worth it. Are they sketchy, are they not? When the time is right you guys can discuss business and make sure you cover all those things once you get to business. I wouldn't just launch right into it. It'd make some people feel weird.

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.