Studio Pass with Tommy Rogers and Jamie King

Lesson 22 of 32

Scream Vocal Mic Selection and Recording

 

Studio Pass with Tommy Rogers and Jamie King

Lesson 22 of 32

Scream Vocal Mic Selection and Recording

 

Lesson Info

Scream Vocal Mic Selection and Recording

You want to do the course later yeah I think you want to jam on it real quicker wait awesome pulled yeah that one takes a minute to get warmed up let's try that warmer thomas and this and this is a perfect example of if I did this on my own I'd be like that that's a dumb assign voice yeah, you know but like when you you just kind of learn what works and doesn't with your voice and and you really it takes a lot of used to what your voice sounds like organically yeah that's part of the likes that what I'm doing on my end kind of mixes I go kind of putting some things in the level in the ballpark of where it needs to be so we can you know so we can hear okay this is probably I was going to be in the mix does it work or not in the mix you know? Because if he had it too loud and be like that doesn't work or whatever I said you know they think it's important for the engineer to kind of get stuff on the barber if he knows I'm running up on the vocal bus I'll show you real quick I'm running th...

e uh I'm running uh you're some basic e q on tommy here this is where I usually start with actually normally I start with that but it's just cutting the lows I'm running a dsr on his track whatever keeps the you know so that way we know like we've got good clear pronunciations and I'm just running a little bit of herb just so that it you know sounds like he's performing in a big haul some vocalist delay and you know whatever you know fix that they prefer just to get that inspiration to fill you know like it sounds good to them you know like the whole so people like to sing in the bath through my bathtub whatever just goes to reverb you know and just whatever makes him feel good you don't want always just run it dry but you go ahead tommy listen this hit that one more time that would sound way more controlled and that little squeak in the second one sometimes things like that it's cool you drag a cool character obviously that was not on purpose but absolutely but cool do we have any other layers you want to scream over that just to have it yeah do you want me to double that or no uh let's go and double down because this I want to be a guy like this of course we wanted a big kind of multi vocal if it so we actually in the you know when the actual record this we stacked it up like six times I'm sure we did a simple like no long leaves this you know like a super low active just to feel that that space you let's go and do that also ok no one needs to know one wait awesome and this do that think about it about it yeah let's just it just for fun because I think this is a perfect example of something I just heard my head and we're like just track it and see if it's cool and it works really well yeah I put it like a distortion effect on there it was kind of gives it a kind of cool rhythmic thing it's kind of catchy I say let me copy a track here's to make space do you want me to double that the louder one first that's fine I think we're good with what we got just for just to get the time purposes yet yeah awesome but it's just a little accident that makes it catch you to me and you can layer that up to make it everyone I think uh do you want to do a screen thing or acquit yeah do you want me to plug in yeah let's just switch out the mike let me put mute this might uh yeah well let me meet it so we're gonna just cool yeah this is this a different mike it has lower output so we're gonna have to increase the game but tommy got any single there let me readjust the game I just do a normal talk talk level vocal so we just moved over to the s m seven b yeah so this same for tommy's screaming is more harsh vocals a lot of times like the essence of beef hey hey hey cool what you turn up right there just for personal I just basically I boosted it twenty d b on this this the broad gain boost that boosted a little bit basically said I don't want to be a little bit of compression when you're when you're at it like a regular level hit it real quick hard to say jack yes hey gets loud you see a lot of compression there's a lot of compression mystifies a lot of people and it's just like said it's just a an invisible do just turning down the volume knob you know the volume slider when you sing loud you know that's what that's what you're setting the box to do you can also use the attack and release settings to two shaped transits yeah but I'm not doing that in this case I just want the train attack really fast so it compresses everything possible but you're more copies and tracks over for you tommy and then uh we're just to make a room I need a little more volume I'm telling you yeah yeah all the you want to scream along with the course is a layer cool you just let me know about volumes this will be a warm up wait wait was that that final level little better yeah let's roll it one more time okay screens you want another one of things I kind of need to be warmed up usually yeah it only takes a little tommy normally like said hell like said he doesn't warm up we're singing and then you know more mode for the screens let him scream over some stuff to kind of get broken in but obviously we don't have time to do that between the parts of wait awesome feel good about that yeah it's a brutal like that always check the creative to make sure we're not clipping out stuff of that nature so you were watching it while he's yeah you got to make sure that it was at first but once you get it said usually you know you're pretty comfortable whatever but I just since we had didn't have a chance to sit in a prior I just wanted to make sure was clipping the bus was clipping cause I just sent extra signal to him for references but that honestly why your track and doesn't matter I think that's all the vocals right yeah do you want me to do a lower one that show how you can beef it up a little bit yeah let's do that wait awesome that you feel but this is kind of what we do I mean we just kind of experiment with layers if you have time to do that I mean, only double this, yeah, yeah, well, just for, you know, so we'll have it. But, yeah, I mean that's pretty easy. Yeah, yeah, yeah, I think you're good.

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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