Studio Pass with Tommy Rogers and Jamie King

Lesson 16 of 32

Recording Lead Guitar I

 

Studio Pass with Tommy Rogers and Jamie King

Lesson 16 of 32

Recording Lead Guitar I

 

Lesson Info

Recording Lead Guitar I

Well, they said in the studio we just experimented with all this is off the cuff kind of like let's try this see what you know just kind of used instinct I could use a little bit of like analog echo or and we had you know, oftentimes with bt bam and tom we have a pile of pedals that we borrow and stuff I have in the studio and so he has used you know, we're just kind of you know, you know, I just kind of get a vibe, you know, kind of get an idea like, hey, I could use it let's put this up on you like that? You don't like that, you know, it's just kind of a filthy I said this time might not work at all, but I've got to direct, so it doesn't matter we've got clean directs we can always come back and redo it, you know? So do you generally like to commit to atone? Uh, no, uh, like said the I've heard a lot of people like to do that and there's some elements to it is two two the thing that I do commit too, but like said I specifically recorded direct sounds because I don't want to commit it...

gives an opportunity gives you announce, you know, saying I like to try to get it I like to spend some time and try to get as close as possible to what it needs to be but the same time it's just like I said it's an educated guess you might get the final product and like said oftentimes the bands don't have money in time for pre production stations and they might have you know you know when tommy's recording this I don't know if he had a whole orchestra program right there you know that it could have been there and it's like you know going with these really thick high gain sounds and he's like I got this citi piece it's got eight tracks and you know I got to figure out how to make that work is like all of a sudden those tones that rocked by themselves they don't rock anymore for the particular place in the mix so it's you never know I mean there could be things thrown us having the direct signals there as a backup I think is essential you know I just think it's ah you know you know there's I know so watching steve of its creative life thing and you know he really preaches to commit but he's an absolute master you know he knows probably already that hey this is definitely gonna work justcause I'm awesome and I know you know with me I feel more comfortable you know I've gotten lucky a lot you know we get looking a lot bp pay him but there's times I'm like yeah let me remember react that real quick just a little bit less game and they had to have worst case scenario yeah millions out of you let me grab there's a couple things for the lead divided typically use d generally bring in your petals this stuff that you don't lay live or do you destroy I don't really play thing is I grew up playing guitar and then when I obviously between the barrier media focused only on vocals and any gets hard stuff was behind the scenes ok so my my gear everything is out the window like I you know I never kept up with all that I just get with writing that's all I ever fixed on so I honestly don't know a lot about gear I love me a lot of stuff jane I'm learning a lot today and yeah and with pedals you know I just I know what I like yeah in my sound sound wise yeah so I had a person don't have a lot of stuff but I'll go over tomorrow I do do demo things on my own and just kind of try to get close to kind of what I'm hearing just so jamie has an idea how we can make that for real sound you know a more professional sounding version of that so yeah I don't have a whole lot of bring in besides guitars and and I've apparently lost the item they're looking for, you know, it's a it's a little piece of cloth that we tie around but we can honestly use anything to tie around yes normally like that I'll take a piece of t shirt or cloth material or something like that and just tied around the head stock tio two to make sure that any of the open strings don't ring out we'll see if somebody can bring in something yeah waken demonstrate that later on imagine you're cool because I had the I brought it with me and I don't know where he is way back but uh we'll go through it just had to play it clean unimaginably that's fine, yeah, I think you're going to do with all of the stores and everything in it won't be so uber noticeable callsen lets you do a little test test track here do you like do you like that pick up way? Pick up the way you like that better by itself but I think theo yeah, this is basically he hooked me up with a piece of you tell me knows this is pretty much exactly what I'd like pieces of t shirt that I used whatever sex I don't think it even smaller exactly it's um but you know, my t shirts are old and like have been used for years and I had a white one that was like brown you remember them like it's it was used in, like the first bp bam this still are almost like palm sweat exactly oh no, but their products that are made of whatever that that actually you strap it on with velcro and I had one of those and I don't know where that but, um, but this does the same thing basically like, since they're being open strings in this because there's no open strings just to make sure there's no notably strange ring through there's going tie it off on just kind of needs strings and helps, you know, helps you stuff you would never notice live like, you know, you know, like open string noise sometimes all goes for us, you know, that noise, whatever. Sometimes I'll put foam and behind there if it's making a noise to the amplifier using high game, sometimes you can hear that stuff and the floyd roses, the springs you know, the tremolo systems of springs in the back make noise and stuff you never noticed live, but in a record, you don't want it on there especially, you know, metal, the chugga, chugga parts or whatever you have this stops and wanting to be clean is this good tea do a whole bunch of ugly muffling but it works, you know, helps helps get it cleaner uh, tommy, I'll just bring it in close to the because this comes in right when the rip rightly I'll start the base and you just let me know about levels. This will be a test run. One thing for those watching if you'll notice I've got I've got this set up stereo, maxing out recording stereo this is the same signal of guitar or whatever, but there's a reason I do this and I'll go over this in the mix, but I track two tracks of the lead even though it's amano track and it looks stereo, but like said, I'll do a synthetic alzate thing to make it stereo sometimes, but sometimes not, but tracking it like this makes it quick and it's gonna like us, we're seeing into the future what I might do in the mix and having it set up for that to some people don't freak out hey, why where's the stereo it's actually mano just to mona's playing left and right so it still sells mona little spots how's it delay? I think they're beginning needs to be a little smoother than lay does it feel like it rings out too much? Still a little bit and again, this likes its educated guessing and whatever it feels like but I learned if it feels a certain wage like say, if it feels good it usually is good if you feel something feels weird about it usually there's something weird about it they're just I've learned I read from us I can't remember who the producer was, but it would really help me is like just trust your good you know if you're good saying hey, something needs to be louder and make it louder you're usually usually for a reason you know, a lot of people starting out you want to second guess yourself like I don't know is the kick drum too cliquey or whatever I mean for goods if something's just jumping out then it probably is probably for reasons so and that really once I got that you know it's really just help me get better quicker and to get to get mixes happening tones happening quicker I said for some reason I just my gut said man, the delays the mix is a little too much maybe not so I had to revamp it later but I like that better there was thinking second phrase had a glitch maybe let me just put you in just to make sure it's good and again like said this is reiteration on the quick punch they have the quick punch and able and like said luckily weaken cr transits because we have to direct signal all right here's the beginning in that one quick note if you notice if you zoom in like on the direct say it looks like that's the beginning of the note it's actually not beginning in those here because this is the all right if you edit it to hear you take away some of the the pick attack if you zoom in on it really hard you can really kind of tells you that yeah you see where the actual this is the very this is a percussive of the pick attack and create actual in it so you have seen people edit the guitar's like I still quantifies using here is the time but this should actually be a little ahead of the beat to sound proper but I've seen a lot of people and the guitars here and just ended this away just take away that the percussive than it sounds all is white the guitar sometimes you hear sounds them with cynthia was no there's no natural pick attack uh but yes when you punch and you definitely checking to make sure you don't cut off in your pick attack things of that nature zoom up and see that sucker it's a double pick attack clear but we'll deal with it later one thing as I go along like I said, I've got a habit of editing and mixing and I'll talk about anything more but there's some things you could do on the fly like this we don't need this junk hear this noise scared of it I said I have been doing it so long I just know you know what I'm gonna this this all should be solace always good clean that out real quick this helps you know, likes it sometimes I thought there was the reason I'm doing this now getting the big blocks some of the performers will be playing or tracking apart and I think I hear him hit playing noise and really the noises just on another track so I kind of think you need to just get rid of just so you know it's just so you know yeah, so what? There wasn't a noise in this part and make the guy do it again you know the girl you know and it's like you know and it's it was nothing wrong with to begin with, you know, so it was you know, it saves time, you know? I just try multi task and you want to hit the knicks? Yeah, the whole theory that under that but it's really you want you're going to do the second good because I want to check that tone I think we did the same tone but just to make sure we do let's try it one time simply ten years on yeah, this is like I said this is a rock song you told me you know kind of jokingly call it the grown song but you know that's why we're not going for absolute perfect way wanted to have that kind of a rock and violence that's um fun interest is an exit but at same time you don't want to think this could be construed as like that wasn't it I like that sound is solid and you're pretty confident we use the same tone for the but the uh that time no, I don't think so it's pretty dry because it has in order for it to cut through let me check out what we wear what we did here I had an optical yeah, cool forgot about yes sorry to those of you at home. Whatever we recorded this like what was that? Well, they get to hear the nine months ago original sessions you exactly that's kind cool before anybody else wait right? Yeah, I don't know why we used in aqaba just kind of sounded cool way and I think we actually use that pedal didn't we did or was it another? Uh yeah, there was a lot of options but it's just a kind of a little need accent just give it a little spice with locked same thing what do you the up the pseudo stereo records actually not stereotype that's coordinated that yeah, and I'll show like that when I make. So I'll show. You show you show you before the thirty millisecond, all set thing. I do that with both syria to synthetic, this, the whole beatles, synthetics, but this sets it up, so I don't have to like duke tracks later and things like that, you know, because it's something that do a lot, you know, like I do a synthetic stereo pant, a lot on guitar takes to put stuff backing vocals, and I'll talk about that in the mix.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

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