Recording Rhythm Guitars

 

Studio Pass with Tommy Rogers and Jamie King

 

Lesson Info

Recording Rhythm Guitars

Let's see oh give me a five thousand normally I would just note thirds always sound bad you know? One thing I've deducted on guitars unless they have like that um we call them the tempered fritz thirds always sound out of star players out there part of what I'm talking about I've just learned to live with that my cd yeah uh um yeah we'll start at the top of this do you want to scratch basin or you want to track it without base um you can keep it in its fine yeah I'll just knock out just audio the course is just because it's the same with you it's not those out um then do the leads because there's a rover that riff and then we'll go to the verse which is a less a low gain yeah and we'll figure out the verse it's not just it's quick and painless for everybody one thing to note like I'll put the the pre recorded based track in here for tom because this song kind of leads off with base normally I would record the rhythms first and I think we did record the rooms first just just take it out...

just taking out that's how well yeah it's just how we do this or is it going next take it out when I was going to say if it's like if a player that's going to record needs uh needs a part tow to play their part correctly then then go ahead and just scratch track it even if it's not the real thing you know like a presence of like hey this song does have some bass parts I need to hear just track a scratch track real quick and just that the habit for reference or whatever to the quantities drums but tommy knows this song will so I'm going to just go ahead start song leads off with drums yes make sure volumes were quick yeah yeah let's do it like a a little trial and real quick let tommy play and see if he needs to this guitar is louder in the mix and you know when I'm recording also as I mentioned before I record always record direct signals and the amp signal um I said this will serve is ah volume check and also was a tone representing a check to make sure the tones rocking in the ballpark it likes that all this is just educated guesses we don't know exactly if the tone is going to be perfect for the mix just yet and that's why I always tracked a direct signal so you know I'm going to talk about revamping probably tomorrow, you know, just in case like so we track apart and we think it sounds perfect for the part and then we start layering realize something has to gain uh you know, a different aunt might be advantageous to use toe to complement or to make space for another part of something like that so it's just always wise to grab the direct track something even you doing since the seventies that for somebody that doesn't know because it's fairly new to me reacting is just taking the actual raw guitar signal correct and you can send it to whatever and amber again again so you're reacting yes it's like like right now we're actually tracking with an aunt and it's this works for direct signal or for like camp seems to like you use an ax effects or line six pod or you know you could actually have a few track just direct savings to the computer with like the pot farmers are you know the amplitude or something of that nature like you have ah plug in your court you can use that direct saying you have to have a specialized uh it's best to have a specialized a reverse to rick box to correct the impedance to send it to your amp uh the your real physical ample whatever it worked or your you know your camper or your axe effects unit to react if I the red guitars well yeah tommy just jammed this thiss riff and let me know about levels and start on the top right? Yeah let's start from the soldiers so everybody could get a clear that's where you have are perfect that was exactly what I was talking about the sea and in the area but I'll just wait scratch basin yeah you know, I was like yeah let me throw the basin let's pretend we tracked the scratch big all right I think everybody has an imagination way getting about the levels of well I love it it's fun work we're not gonna slide in okay? Yeah that's so that's things workable I think obviously like normally I would spend more time developing the tone you know, but for these purposes thing didn't work fine he's close is a good rock sound you feel like it needs more lift game drive it is a big power chord rock riff, sir good rock into beginning of course is a little late but we pushed into well actually want you to play a little bit not on just so I can go over the guitar quant housing with everybody so I think that would be good actually lets up just for those you watching. Like said one of the things obviously tommy didn't miss up enoughto have any having issues and there's a couple of products that we'll go over that when I do the leaves as far as the wrapping off the strings and stuff but one thing I often do with guitars like I said, the main thing I'm listening for things that you can't fix in the computer or in the editing things like open streams, if he's, like been the note sharp or, you know, things of that nature, you know, little slight rhythm things like he was saying he was maybe a little behind the beat of the beginning. I can do fix that. Obviously you can see on the screen, uh, the rhythms you can actually see the rhythm patterns pretty clearly with the direct signal. Yeah, yeah, I mean, it's very it's, very obvious. So I could use that to line it up with the drums and the click track. Let me drag include tracked down. Yeah, actually, tommy, look like, perfect. So that's not good, but anyway, like said the, uh, we won't do we want to double like, you know what? Yeah, we'll double it. And, like said tommy's, right on and that's, I can't really giving street. But anyway, you, whenever qantas and quite a bit with me, I'll just I'll make it off on purpose. And, you know, I mean, it is technically the same theory. Correct a cz faras the way you treat exaggerate with guitar, like said, since you're tracking with the quantities drones, these guitars were pretty much close you have a good sense of rhythm you know they're going to be pretty much close so basically you know, with the guitars and vocals and bass and stuff I usually it's more of a spot kwan ties it's not a thorough every beat quantify it would be with drums just because usually can perform closer but like I said normally what I'm listening for what tommy's tracking is good energy and emotion you know like said if it supposed to be rocket just like on drums make it rocket was supposed to be chilled make it chill and sometimes you know you have to uh ask the client teo you know, to kind of focus on that element you know what times people right beyond their ability or doing really difficult stuff and they lose they lose I guess focus on the things that I can't fix their focus and I want to be on time and like dude, you're dynamics we're getting really offer uh I wanted you know, like when you're seeing a lot of singers like I'm getting off pitch and like don't worry about that like I won't hear them clear annunciation in good attitude energy and things like that I can't there's no audio energy you know but anyway but let's go ahead and I normally double track all rhythm guitars because it's pretty typical I usually paying guitars, rhythm guitars hard right and left just for that that big traditional sand I think most people do that uh and you know the other stuff I'll sprinkle around within the stereo filled or whatever to create the four but ah yeah let's run how'd you feel good under great? You know, one thing I think is important to note, you know, and this affects, you know, it's like, you know, kind of ties in the psychology but uh you know, hopefully you actually like the material that you're recording but always act like it I'm not pretending tommy, I promise you, but uh but yeah, I mean, you kind of you kind of I belong act like you're positive likes it because I've had has that really affects musician you guys just kind of like texting? I'm not I mean, we report of the guy that was like that and there was no he obviously didn't like the material, which is fine, you know, but the fact that I don't think it's funny you're ready to work with people who were in the moment trying to get something that's gonna last longer than you it's got to be, you know, the take you know, this is are you saying and emotion ties into it stuff like that in a post like I said again, this experience is important, I think, you know uh we all do this because we enjoy it and you know obviously not a lot of money for most of us you know most of us made ninety eight point nine percent of us will never make money doing this thing or whatever so you released would be like hey, that was fun you know and if the guy is doing the recording word for you whatever production work and he's just like and someone and it takes one to me that if the divides good yeah so I said I mean try to keep it positive like said they're saying time like said if somebody's doing something that they need improve upon try to figure out a positive way to get it out of the person yeah I think these are solid rhythm trip takes the tone seems rock and so far we don't know if you do want to work on the leads over this uh yeah let's go and do that just the tone could be similar yeah me refresh what we had going on but I think we may have had some effect I'm sure there's some verb maybe delay I'm just wondering if I did it on the bus or the the actual pedal okay I haven't have a verbal on the bus here so we know that real quick the guitar buses I'm busting these I said I'm recording these flat there's no you keep going in it's just preempt this is I can get rid of all these little notch cuts and stuff even though that might sound good but on guitars again with the drums I'm doing some cuts on the lows and getting rid of the lows that under a eighty hurts because it's the rocker here we don't need a lot of a lot of lows in the highs I mean look at that I'm cutting quite low you know four point seven five k whatever and up is just rolled off uh you know just you know and I'll demonstrate just real quick without there's just a lot of fizz and you know, undesirable type of character in the guitar in that range sometimes that's desirable oh if you're doing some small school blind analyst for like a metal record you will leave more highs usually like for a middle record I would have not rolling off like ten k but yeah like a warmer tone like we were going for like a warm rock sound and in plus how it you know you know how it works with the lead in the vocals you know it makes space that we've we've created this space for some other stuff to live like that I'll do some specific to this amp will find some thing that I'll talk about probably tomorrow like a concept called offending frequencies or I call it offending frequencies it's just frequencies that air either harsh are boom you're muddy and stuff. We will find those and just come out and get rid of him. She was the children away and it's. One of the reasons I like that surgically accused that's the world. I don't understand it all the frequency, but it's. Very interesting. Yeah, I mean, it's, it's, simple. And I'll go over and, um, it's, just a matter of associating like descriptions in your brain. With what? You hear this in other words, things you do it over and over, and it becomes second agent. Like I can hear something. But, you know, when you take out around two hundred hurt, so you know, you could just hear it, you know, and no. Well, let's see what had going on and lead tones here and these these are all some fun leads. Wait. Some crazy pedals are used in this way. Okay, so it's obviously had not a whole lot of games that some delay. Let's. Ah, a lot of petals have this. Features is tap tempo. Future slogans happen and get the wait. Seems like the feedback which really yours is. Theo some more writer wrote that this's role that I didn't have to be exactly.

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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