Choosing Gear and DAW Discussion


Recording Rock Guitars


Lesson Info

Choosing Gear and DAW Discussion

Before you track anything, you have to make sure that you have all the right stuff even uh for instance we're going to be going over types of strings that you need to use types of pics and this is stuff that even if you don't have much money you have to you have to buy these things for your album and if you're buying the wrong stuff then you're just wasting your money so uh well won't go over everything that you need to do to get ready we're going to go over all the tracking and this is the you know, this is what I this is how I always do it we'll get into more detail about this but this is this is always what I end up doing we re prepare we track and then edit and I kind of edit as I'm tracking um just to make sure everybody's happy with what we've got and then I re amped kind of during mixing and and all that stuff okay guitars um this specifically I'll go back to the reference for not a lot of people have the opportunity to choose a guitar you do when your first buying a guitar or w...

hatever but uh when you have a lot at your disposal you think you know which one am I going to choose how do I know what to do um and in this specific example I'll use the day to remember again which I'll be referencing a lot uh we had tons of well gibson les pauls we had on the but this is what we had we had the fortified les pauls we had scheckter with single coils and am geez we had lt s um we had ah ah hollow body which actually this is my fault but we tracked and this happens to everybody everybody makes mistakes we tracked most of the album with a hollow body and we were all pretty happy with it but then I did that thing or I notice things and it was like this sounds good but there's a quality missing from this and I chose a different guitar and it was actually this which is pretty weird it's a fender stratocaster with the mgs which you would think it would sound very strange but it didn't you actually just heard it on that recording that's what that was so you know, it happens sometimes so we spent a few days tracking everything and then uh and then I kind of made everybody retracted because I'm crazy and so was everybody else in the industry that does anything okay the tracking for this album well, we're still talking about common courtesy here I think so we tracked what we actually did do tracking it didn't take very long for the guitar's it was only a week or two for I think was fifteen songs or something like that um I what I always do and I'm going to get into more detail about this but I track with a sim so I have a d I a in my recording program that I can edit as we're going andi try to make it sound as good as I possibly can and that's that's another reason that this class is important because I'm going to show you a bunch of guys they're a bunch of amp sims that sound great while you're recording and that's very important for your tone because if you're playing and you're not sure what it sounds like uh we're not sure what we'll even sound like whenever you actually sent it through the amp um you're going tohave ah strange results so I usually use amplitude whatever I'm tracking and then we send it out on this one after the band left there went on tour that's what I did all this stuff and they loved it and so did I smiley face okay yeah this is the actual set up for it we went through a bunch of different amps on cabinets as you can see we had we chose from a diesel the up top there the blood atone blow tone you know how to say that you don't see that whatever orange angle on the bow wagner is actually the one that we use and it's not you can't see it but it's the bogner ecstasy some anniversary edition? I don't remember uh I have it written down somewhere, but just one fifty seven we experimented a lot with they are one twenty one and the fifty seven but I wasn't really liking how it sounded, so uh, so we just went to a fifty seven I usually always I love fifty seven um, I know that you have used the angle quite a bit in the past and looks like you evaluated on this. Why did you end up moving away from under? What weren't you happy with actually switch back and forth between the angle on the bogner a lot? Uh, the angle and the bogner sound really similar, but there is a quality in the angle that was missing. It was a clarity in the mid range and I just couldn't get it. I couldn't dial it in in any way, especially compared to the bogner um, that it was just so clear, like even if you really have it cranked um, the diesel I wasn't I don't know I'm not saying diesel doesn't make it stuffed with that particular diesel absolutely was was not the right sound uh, it had a very loose bottom and I'm not a big fan of the orange is a great amp that and I'm going to be going over the ghost inside they actually used on orange and for their sound and at first when you turn on orange it sounds kind of weird but if you know what to do with it you can get a pretty unique sound out of it and then the blood oh tone blow tone uh we actually did use that on a song I think that's going to be coming out on this special edition of the common courtesy released that's going to be out soon and that had a fatter huh? It wasn't heavy tone but was a thick tone for a good rock song and that's that's when we used it is pretty cool so and we owe the marshall versus mesa uh these particular ones the marshall also had the kind of ah I'm all about the clarity when it comes to a guitar tone and the marshal it was lacking that same mid range clarity that is like what basic guitar tone is is made out of uh sounded big, but it just didn't cut, especially when we're doing really fast chugs and guitar things out of curiosity what speakers are in the mesa and the marshal the mesa I'm pretty sure those are the marshal has greenbacks and then the mesa I think they're just selection vintage thirties I'm pretty sure so um this this cabinet is the impulse response with with this uh microphone is the one that that you get when you buy the class I have a question for you yes alright ade a btr fan wants to know why does violence from common courtesy have a different mix in the rest of the album? It sounds like the same mix it had when it was released last year and doesn't seem to have as much as the rest of the album the new version he says or they say it sounds like the same mix it had when it was released last year so maybe they mean the new version okay what do you think about that? Okay well the first one that came out was mixed by me and uh that was a very long tedious process but uh I was happy with that and the new one that came out was mixed by ken andrews who didn't mix the album and I think he did an excellent job but maybe you got used to the first one or something I don't know I uh I think they both have cool qualities I might be partial to mine because I mix it but I don't really know howto that's just that's what happened I mean weii spent a long time nit picking that song when we first did it then when it was mixed again we kind of did it it was done a little quicker um I still think it sounds cool I don't know but uh I like I do like my thanks one and all but thank you that's a compliment to me and you didn't even know yeah that's true so or we'll keep those compliments coming yeah uh see what we got why buy all that stuff? Well, whenever you get into it as deep as I am or anybody that's been doing it for so long you are constantly searching for the next way that you can improve your sound and sometimes right now whenever you're at your home studio this is not going to be the case right now or for today for you guys but sometimes you have to spend a lot of money to make a little bit of a difference, but when you get that difference you're like this is what I've been looking for and it is so satisfying on dh I'm actually gonna be showing hopefully I don't ruin guitar simms for you guys, but I'm gonna be going through the difference between real lamps and guitar simms and hopefully you'll be able to hear those subtleties what are the must haves and one of the nice night want tohave something? Obviously we could all sit here and make a list of gear that we wish we had you know, I'm sure it would all help but you know, if your home and you've got to save up for stuff like like we were ten years ago or something like that, what do you need look, that's, invaluable that's an invaluable list, people that there's so many options and, you know your hurry supposed to know what do you actually mean? I think today it with technology and it's it's been improving and it's just going to keep improving. But I think if you're going to spend money on anything, it would be a solid computer because you're going to using plug ins. If you can't buy anything else, you're going to be using a lot of plug ins on your on your computer. So if you have a solid computer, uh, that that is a must. I think so. We have no, we have a detailed list of that coming up next, but I guess how do you know when you're limited by your gear? You know, we all think, oh, if I get this thing like, it'll make everything great. That's. But how do you know when you actually need something new? And how do you know when you just kind of want it? You know what I mean? Yeah. Oh, yeah, yeah. That's a good question. How do you know? Well, um sometimes it will happen in a weird way. Like for me, I'll be recording a band. And a battle bringing an amp that I've never heard of and I'm like I don't know anything about this but let's try it and so they bring in a bogner, for instance, and I tried out and I'm like, this is absolutely incredible and I have never been able to get this sound, but now I can so if you rent equipment, if you borrow equipment uh, sometimes that will open your eyes to see you know what the difference is right away, but if you're just kind of doing it on your own and you don't really have anybody coming in like that, you're not recording bands uh, it you can go crazy trying to figure out why something doesn't sound right, and I think it's it's at the point when you actually get the new equipment, is when you know that you actually needed it. It's a it's a weird thing, I don't know how you would yeah, I've actually experienced that just just the other week, you know, I'm getting ready to record that whole album worth of guitars yeah, and I was using a kind of a lower quality interface and, you know, for capturing the eyes are even just recording tones, you know, I noticed that it was it was a lot more harsh than I wanted it to be and, you know, like you were saying sometimes you have to spend a lot to get a little bit of a difference I mean, it sounded great but you know, I was consulting with with mark lewis and audio hammer and he was telling me that you know, a lot of it comes down to conversion and the quality of the components that you're using I mean that's everything yeah and s o I upgraded to the apollo the whole quad and it just smoothed out that whole that whole top end of what I was doing it it was instantly like well, you know that that little bit extra headroom there just kind of made it sound you know that much better. So were you trying to do any kind of strange work around to get rid of that this week quality that you were hearing always yeah yeah would always you know, loan high pass filters you know, just kind of did you ever notice that whenever you do get better equipment there's less that you actually have to mess with yeah absolutely yeah and it was it was that and you know, I upgraded monitors as well um I now use those those dying audio's is might be set but I got some event opals and you know that right there made a huge difference yeah, you know, I could just all of a sudden I could hear things that I couldn't hear before and you know, incredible clarity but you know, it's like if you take you know, to the untrained ear they might hear it and be like, well, I don't hear that much of a difference right now, but when you really focus in on it, you know, there there can be pretty significant changes and those differences if you ever are doing something yourself and you listen to recording you love and you're like what's the difference between this and that how can I get here when I'm over here and all those tiny little improvements that you can't get with your gear that is, you know, a lot of times you don't even really know until you do it exactly what you find you know, improvements when when you make those upgrades and that goes into guitars, drums, vocals, everything based yeah, so when you finally figure out how to do them all, which is a huge long journey that's whenever your stuff starts sounding like special I think and in professional so that's the magic right there yeah, it's, er and that's why this class is so long because there's a lot of there's a lot of stuff when it comes to especially guitar tone so camera not to put you on the spot, but I know you're kind of at a different level or maybe just starting out a little bit more so how do you how would you answer that question as faras? How do you know when you have a piece of gear that you really need also know even invested in a lot of gear? So maybe talk tell it talk a little bit about, like, what made what led you to, you know, make that investment and kind of in hindsight how you feel about that, you know, um, I think it also kind of comes back, teo uh, if I have to mess with it too much, maybe I need something else to get the job done rather than trying to compensate with e q trying to eat you out weird frequencies, maybe the microphone just doesn't give you what you need. Yeah, for recording drums, obviously, outside of what we're talking about here, I noticed a huge difference and buying just nicer microphones absolutely. So I guess that would be the way that I answered that. Yeah, that's ah, I think that's a very good when you when you're messing with something and you look at what you've messed with it you're like, this is really weird that would probably be a really good education I've put ah thousand plug ins on this guitar tone, maybe something else is wrong, maybe I need to re track it, for instance so yeah, I think that's a that's a great camera before you put the mike down. How do you know when it's how do you know when it's you and when it's the gear once you have tried over and over and over and over and over again it's just not there you know it's not there. Okay. All right, well, I have another question this is from a newer skywalker who is a nurse from mexico city welcome and they ask if you can't afford pro tools pro pro to excuse me what other software can I work with and still make it sound awesome? Finn what was that software that everybody is that we talked about the reaper where you have never used but I don't know if either of you guys have ever used I I know that a lot of kids are using it and seem really happy with it actually a lot of stuff we're talking about is absolutely compatible with reaper and I will solely and I approve of it. It's good for editing it sounds good. Yes it's it's just it doesn't have all of those little niceties that you get with pro tools but it gets you like ninety five percent of the way there and weapon I mean to me a dausa doll, you know, I mean, some of them have features that others don't, but they do you know, in the end they all do the same thing you know they record and at it you know, mix and even master in some cases I mean you can pretty much do everything with any daw you know as long as it has just the basic fundamentals right? And I'll kind of try to go over that like how you can use this, you know, technique in whatever other thing actually for some the sims we had to use logic because I didn't I didn't I didn't have the sims but I had read a lot about them and saw demo videos of them in so finn actually had them for me teo to mess with him that was that was cool and sometimes you got to do that if you have to go to a friend's house to get something that uh that can improve your quality of your mix or your tar town do it do whatever you got to do especially if it will save you money for those of you doing that way have a comment from jarvis who said the dog isn't as important as you think it's what you do inside of it all right have a question from tai who asked while on the topic of dog can it make a difference in processing and rendering your sound? Um well, I know that uh certain I think a lot of the w's right now are all getting closer to having the same like technology like bit for bit mixed downs and stuff like that the newest version of pro tools has faster than real time rendering, but it's also it's still bit for bit the same as whenever you during playback and right now the older versions of pro tools that's the same it's it's not faster than real time rendering but that's that's where the problems have have come in in the past is one of you have a program that is faster than real time rendering it's not doing the exact thing that you got during playback and I think everyone starting to go towards like being very accurate with that but but yeah, it actually does make a difference I've mainly been on pro tools after my I've done been doing critical recordings so I don't really know of the other ones that like actually mess up the sound yeah, I know that personas for example, which is what I use you can either do realty I'm rendering our you know you could do a faster rendering and I found that sometimes, you know, depending on what you're running you know uh if you have a lot of processing going on and using a lot of e s t s and stuff like that, you know you almost have to do it in real time, you know? You can kind of it can get messed up, you know? Yeah, just from trying to read the data out of the dog, you know, when it finally mixes it down. Khun, lose something. You know, if I'm doing, if I'm going to do something like critical at theaters, like the final mix, I would probably no matter what technologies out probably never do faster than me. I want to hear exactly what's happening as it's being mixed down, so I know what the band is getting and what I'm sending out. So, um, maybe I'm old school, but I don't know how much I would trust that, but but that might change. I'm always open minded to new ideas and techniques and things all right, andrew, we have the questions they're just kind of pouring in right now, so why don't we just keep keep on with the questions unknown in the chat room asked when it comes, rick according how much attention you give the type of cables you use? Um, well, the only time I've ever noticed a huge difference or degradation and quality is, um, really, like, really unshielded cables or just a cable has a bad connection or something like that, but for the most part, I've actually bought a radioshack cable that was pretty inexpensive it it really as faras the noise floor and clarity when they actually did a test between it was a rare shot came with a monster cable and the radio shack cable had a lower noise for and better clarity than the monster cable so but I had to do an extreme test it wasn't like oh, just listen to that listen to that it was like really turning the volume up very loud and listening to the interference or the white white noise and stuff like that but uh there was what do you think about that? Especially because you mainly do guitar stuff? Yeah, I have noticed a bit of a difference recently I started using the those planet waves american stage cables and they're really high quality cables and they're super expensive but I've noticed that they kind of you don't lose any top end, you know, like a lot of times I've noticed with with inexpensive cables you know, they kind of that kind of dole out the top and a bit and you know, the these american stage cables they're a lot more lively sounding and they're not noisy in anyway, I've noticed that with a lot of the cheaper cables the shielding isn't is good, right? And you know you can pick up interference and stuff like that um like for monitor cables, you know, for for the home studio, you know I think it does make a difference there is well, you know if you just go down to guitar center and you buy you know the cheapest cable off the shelf and you plug it into your studio monitors and then you take you know something like um oh gami cable yeah you know with gold tips and all that stuff and you plug that in you know, I think to the trained ear you would definitely hear difference absolutely and that's that those small things are the differences that will drive you nuts if you I don't get it right right and that's that's what we're saying like sometimes you got to spend a lot to get a little bit exactly like well if you're not quite happy with the result you know and you spend a whole ton of money and it makes a small difference it's like that's all you really wanted so let's take for instance the cheaper cable that knocks off some of the high end so a workaround could be you could try to be cute in after you know, on the d I write you compensate for in some way but it's not doing it's not getting the pure sound you're adding things that were never actually they're always that exactly expecting to hear right and that's that's not always the best way to do it you know there's workarounds for things but they're not going to make the best result one place that I've gotten cables for with great success is a website called mono price you guys heard that they make really high quality cables you can buy a like ten footer for like five dollars or something of instrument cable and it's excellent quality I can vouch for that. So yeah mano price dot com that's the website this is the panels that I built for the home studio and I always use this method. This material is called mineral wool. I deal with it in two inch and for inch thick panels that are two feet by four feet and the absorption coefficients, which is basically how much sound the panels will absorb is is incredible and this stuff is so cheap I think the panels came out to be around nine bucks apiece, but I had to go through a company in florida called atlantic distribution and you can't you can't just go out and buy this, but you can buy smaller quantities than a huge palette full of them. But just so everyone knows this is these are photos from your actual studio. Yeah, yeah, this is stuff you built yourself. Yes, this uh I don't have a pointer, but this this one down here on the bottom right is a base trap, which you can make easily by cutting the corner off of a bunch of, um panels and you stack them on top so you get the triangle shape and that will kill uh, the really low standing waves that that hit between corners and this was especially a challenge because it is in a corner. So we we had all these panels that go all the way back to the wall, and then we also have the base trap, and we put it snugly in there, and it really kills a lot of the standing waves that air around thirty hearts or so that can really mess with you when you're trying to mix. Um and if you're looking for the material, you're just looking from something called mineral. Well, yeah, mineral world there's a there's, a bunch of different kinds types of insulation that you can use there's rigid fiberglass, which is similar, but, um, you would still have to order custom thicknesses. I think the thickness the thickest they will sell at lowe's or home depot is maybe an inch or less. Uh, how much did it cost you to treat the whole room? Roughly? Um, I can't. Well, we actually didn't end up using all these panels. So for the whole thing, uh, I mean it's on ly it was only a few hundred bucks, teo of materials toe thiss that's, actually, of I mean if you really think about it compared to like a prefab set up in my studio I have already acoustics premade based traps and high frequency absorbers and uh you know, one of those kids you know, if you were to go on order one specifically for, you know, like a twelve by twelve room or something like that you know, you'd probably be in the neighborhood of sixteen to two thousand bucks yeah, you know it's incredible, I actually I make sure anytime I do anything d I y I try to do research and make sure it's going to be worth the time and make sure actually saving money because sometimes you'll end up spending mohr but in this case it absolutely was these these over here which you can't see the full thing but they're enormous ceiling panels that way looked we looked those up um I can't remember what they're called, but there was only one company that made panels that large for the ceiling and it was I think it was a thousand or more just for a single panel and it's interesting because all these these insulation companies also have the have the the absorption coefficients, which is what I mentioned earlier and so do the the audio cos also have absorption coefficients and sometimes these cheaper ones actually beat the more expensive ones and it's really important for you to look at that depending on the size of the room you would need different size thickness is you could goto find a standing wave generator online calculator and measure the actual with of your room and you can find what frequency is going to be bouncing around between these walls or these walls the most and then you can plan according to that and uh if you can find that that information online and it's very simple you can save hundreds of dollars and you can have a new incredible monitoring environment so far this is my absolute favorite monitoring environment that I've been in because it's so it's like absolutely perfect and there's there's there's no way to fake that you can put on headphones but chances are um you're going toe mix something it will sound very strange so but what I did was I just built frames out of wood you could probably also get palette would if you wanted to this stuff is really easy to cut if you want custom sizes um with a box cutter or something like that on dh then you just cover it with any type of fabric we actually had a professional a pulse tress upholstery person do that and um it was pretty expensive but uh yeah, it does when it's done is there oh yeah they're in the previous slide there was a finished one of that oh and one other really quick thing packing blankets if you have it if it doesn't look as nice but you can use packing blankets and hang those on the wall and they help also it's very cheap very easy okay key takeaways like I mentioned earlier a solid computer is definitely a must have because of all the plug ins and stuff that you're going to be using and sometimes higher quality plug ins will use more cpu processing and if you can't use a good plug in just because your computer isn't as powerful I mean that's that's kind of all you if you don't have a lot of money that's all you have to work with so a solid computer is very important and that's kind of why I I like using pc because they don't cost a lot of money and they're very upgradable uh so if you just have it your personal computer is a mac book pro uh and you want a very powerful computer to record with I think pc is a very great way to go. I've been using it for years so andrew dillon deconstruction wanted to know what kind of pcs are you and keith sporting? Well mine is custom built by my friend um it's it's not a a certain brand but the brand I would highly recommend getting a one that has a very quiet power supply and case and tech makes incredible cases and that's that's a huge part because if you're gonna have it in the same room it's gonna cause problems and interference minds also custom bill and uh it's probably pretty overkill for the average home studio it's got like thirty two gigs of ram and all solid state drives and I seven processor soundproofed case you know, the whole nine yards it's a killer studio computer but you know you can get by with a lot less than that obviously yeah that's that's what? My main riggs you know how much years costs but even with all that crazy stuff to build it myself I think it was around fifteen hundred bucks somewhere in there you know? So I mean you're getting up there you know, for so for overkill computer it's fifteen hundred dollars if you really think or you know not that right exactly that's mac it would be like thirty five hundred and if you want if you want to upgrade it how it'll cost you, what, six hundred bucks to switch out the mother border you know, whatever if that and you know the way that I had it set up because I do a lot of video to is you know, I have duel of dual graphics cards running an sl I so it's kind of future proof for me to know and you're sure it's ah it's insane but you know you can get by with a lot less I mean if you wanted to build a dog computer yourself a home and as you could probably build one for six or seven hundred dollars absolutely what aboutyou cameron um I just use a mac book pro it's the one with the slightly upgraded hardware and stuff but it's just like a fifteen inch or whatever I think is that a fifteen or thirteen yeah this is a thirteen okay, I think that's a little bigger than this yeah it's it's nothing crazy um but it it handles ah everything I needed to course I've also got like a terabyte hard drive that's really doing all of the work but um other than that pretty much candles as many plug ins as I can throw at it yeah that's cool alright first takeaway home computer everyone uh finding the right guitar is important but it might not be an expensive one. Uh pickups are huge when you're talking about guitars there are like we have this schecter that I probably play for you guys so you can hear it compared to this lt will neither these air like super expensive but but the schecter is definitely a lot cheaper um but it's very comparable so if you need to get a cheaper guitar they're they're definitely options out there for you and um I'm a huge like m g fan home buck or sound like um I'm sure seymour duncan has, uh some very cool what some pickups that you like actually, you should really, um well yeah, I mean working for seymour dunk and I've been able to pretty much try mall um I personally I played primarily seven string guitar so we have some new pickups that air primarily for seven string guitars and eight string guitars and ah that's pretty much my go to I helped design those and we did a lot of prototyping and you know, the final and result was kind of the one that I liked you know I was like okay, this is this is the winner this is my favorite one that's it that's the one that made it to the shell so that's the seymour duncan as school pick up how do you spell that? Nah school it's an ese g u l like lord of the rings nazel it's kind of fun adding name it, but um yeah, so that that's my go to but, you know, a lot of times the trustee you know, just duncan distortion has been my my guy for ever so very cool um good interface you'll be hearing it later, but all the interfaces that we're using here are made by apogee and my interface at home is it is an apogee but we are using I used the apogee one for some demo songs I'll be showing you guys for not sponsored by a pitiable but they're a very good brand I have a lot of their equipment for the main production actually we're using an apogee quartet so and that's it it's a pretty cool little interface but this is really pretty cheap talk about that just a little bit because I know you know there's a lot of options you know, his pre amps there's compressors, there's all this hardware and stuff if people you know are trying to choose between buying, you know, preempts compressors interface whatever like is that the one thing they should make sure they save up some money for? Um well, uh what depends? Because yeah, for instance, if you're recording drums, it's it's a completely different ballgame but what we're talking about guitars for tree if you're just doing guitars and if you're if you just use some super awesome drum thing made by two tracks a uh they uh they probably only need did he get away with an inexpensive one and get a great tone really? Um because once you get into the more advanced interfaces, all of the components start being separated as in the converters are different your clock is a different thing you're um every everything is is a different piece of equipment, so I'm at a level words at home you wouldn't need all these separate things for for your interface to function you could get a good sound out of this so I don't know that's a big discussion actually but the little interfaces do great actually recorded common courtesy by day to remember are home sick if you guys are familiar with that album ah lot of the vocals were recorded on a uh m audio like four ten I think which is just a little and we used those pre amps that are built in and I like the way that sound I think we did that for what separates me from you also um so you can get good results out of small things but to get to that next level sometimes you have to really spend a lot like um monitoring environment is huge um as soon as you buy a nice new monitors uh you're going to start hearing things that you've never heard before and I don't know how you could hear them otherwise whenever I and whenever I listen to my mixes I listen to it on everything at my disposal tiny speakers huge speakers subs uh sometimes really cool to hear it on a huge p a like you know before uh a band plays you can ask them if you could listen to mix on there or something if you if you're friends with him but that's a cool way tio listen to things to um and if you have a lot of reverb in your room, you're going to be making adjustments that you don't even need to make just because your room has weird standing waves in it which is sound that gets trapped between bouncing between walls and the ceiling in the and in the corners and I try to never mix with headphones I referenced with headphones but I can never mix with headphones uh there's something that happens when the audio travels to your ears from speakers that doesn't happen in headphones and I don't know I don't know what it is or why but it's how most people listen toe stuff in their car you know, stuff like that and I'd said that already reference your mics on anything and everything you can self explanatory laptop speakers I listened things on my phone through little speaker sometimes that's a cool indication of of how something so awesome anything else you want to add yeah, I think just elaborate a little bit on the you know, referencing on different systems I mean that's that's a really important thing to do, you know, um you can mix and master on, you know, expensive monitors and but if it doesn't sound good on iphone headphones it's it's worthless, you know, so it's kind of funny because I'll do that too, you know? I'll make something and then you know I'll pop in a fifteen dollars, set of earbuds to see how it sounds. Yeah, obviously, they don't sound good, but if you're mixed translates ok to that. If you do put him on, it sounds good, and then you did something right. It's, a very happy moment.

Class Description

A great guitar sound is the centerpiece of modern rock, metal, pop-punk, and metalcore. Join producer Andrew Wade (A Day to Remember, The Ghost Inside, The Word Alive, etc) for an intensive look into the rock guitar techniques every producer and engineer needs to know. In this two-day course, Andrew will teach you everything you need to know about creating huge, thick guitar tones. You’ll learn how to prep and setup, and develop best practices for tracking guitars. He'll cover both real amp and amp sims, mixing in your DAW, and more. Whether you’re recording tracks at home or in a professional studio, this course will give you concrete, easy-to-apply techniques for taking your guitar sounds to the next level.


Chris Dimich

This class was extremely helpful! I learned soooo much. Andrew is a pro and it is absolutely worth the money. Specifically the tuning section of the class. Did not think to put this much effort into tuning, but it makes perfect sense! You can have the tightest band, with the best musicians, the most expensive gear, with amazing tones, but if they are even slightly out of tune its literally a bottleneck for the whole sound of the song. Thanks Andrew!