Working with a Guitarist

 

Recording Metal with Eyal Levi: A Bootcamp

 

Lesson Info

Working with a Guitarist

So you guys are gonna notice when I track that I'm gonna be using a bunch of different techniques with these guys. Gonna do some riffs in single takes, Gonna do some parts off to a click, Gonna do some parts loop recording, and some parts just punching in. And I don't favor any one method. I know some guys who need to record entire albums with just one method and I think that that's a very very bad way to go. You should be proficient at every method of guitar recording so that you can use the right one when appropriate because there's always a reason to change up what you're doing. It always has to be riff appropriate and part appropriate so have a bag of tricks, a bag of recording tricks. Be good at recording just to a click. Be good at recording people in loop mode. Just practice it all so that when you record a band who does many different things you can choose the appropriate one at the right time. One thing that we're not gonna cover in this is guitar editing, like editing DI's to...

the drums. And that's because these guys are really great players, there's no need for that. We're gonna get everything with the takes. I don't need to fix them. However that's not the case all the time. Sometimes you really do need to fix guitar players and there're some very definite techniques that you should know about time aligning DI's so that you can have a tight modern product. So I'm making a supplemental guitar editing video that will show you all about how to edit DI's. All you have to do is go to urm.academy/metalrecordingbootcamp and you can get that video. And with that let's talk about some tone in your hands. We give you some tone actually. There you go. (man playing metal guitar) So when I play you'll probably notice that I play pretty hard on the, (strums guitar) on the guitar with my picking hat and the reason for that is it means I can have less gain at the amp stage. And if you have less gain at the amp stage, more of the notes come out. It's not soaked in loads of distortion which will sound bad for the final product. So if you learn to pick harder basically, along the way it might take years to sort of bring this technique to fruition but it's worth it in the end because it's just gonna have, your sound is gonna be much better in the final products. So. You know I've always found that the best sounding guitar players are the ones that pick the hardest. However, lots of guys who pick really hard pull it out of tune, therefore ruining it. So how did you get it to the point where you could play as hard as you do but not go out of tune. Because you don't ever use tuning bridges or anything like that. No, it was literally just, I guess trial and error over a long period of time. I'd probably say between five and 10 years recording in Cubase to a click. Which is definitely also a very important part of recording if you've never played to a click before. Then the moment that you do is really gonna mess you up. So yeah, it's practicing to a click, going back over what you've done to see what mistakes have been made, and eventually if you can pick up on those mistakes you'll try and perfect them the next time you record. And after a certain amount of time it will just get a lot better. So I guess picking hard is like learning how to tune the instrument that you have in your hands as well. So we see every single instrument is different, it has sweet spots and you know, learning all that stuff will help you out in the recording session. And that's a very important skill to develop as a guitar player. And actually as a producer who works with guitar players you should be good enough at guitar to where you can play chords in tune. Yeah. Because lots of guys have not developed their skills to that point. And there are many times where a guitar can read perfectly in tune, Yeah. On the tuner, and be perfectly intonated yet the moment a person starts playing everything just goes sharp. Yup! And it's because of the way they hold the neck or the way they pick. Yeah, exactly, yeah. Another thing as well about the picking hard, there's picking hard and then there's picking consistently as well. So it's not just picking hard and going relentless on it. It's about controlled as well to make sure that everything is consistent. The more consistent the better it's gonna sound.

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?



Lessons

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