Studio Pass with Steve Evetts and Ben Weinman

Lesson 21 of 25

Layering Guitars Part 1

 

Studio Pass with Steve Evetts and Ben Weinman

Lesson 21 of 25

Layering Guitars Part 1

 

Lesson Info

Layering Guitars Part 1

Going backwards and talking about layering sounds you'll have to get into the d I thing but the intro section of this song one unless my bet aa lot of times it's the same thing of the whole being greater than the sum of the parts now on top of what that's here there's these tracks here that I don't even know what we do we didn't use the direct guitar here but this is what these sound life these are clean because these tracks were also noisy it's it's a little too much noise so you still want to get the feel of like more just like a single or two guitar players rather than like four guitar players so it's way too much noise that is ones of getting a little out of hand but the basis and the building blocks of everything I definitely always keep very dirty and like whatever just to the to the track um but you hear those by himself, you know, like what in the world of these things and then, you know, you hear him with the guitar on originally what we had, it sounded really stride and reall...

y bright to begin with but those now it's like so you try to think again serving the song and sorting the parts like try and get this really aggressive thing and it's like ok it's really aggressive but we need let's go let's try and push the anvil let's go further so what do we do and then we we really try toe to get that more face you know, it's funny we even talk about that it's really funny it's like a kind of a term that we use because especially with this kind of music but pretty much almost any kind of rock music uh, we something we call face because if it doesn't make you do this when you need we have bad taste in your mouth. No, but you know, like how many times you know, you see like, something even like blues guys just see blues guys like you make the face it's, like, really could make the face music kind of make you feel something it's like if it doesn't make you feel anything it's like, what are you doing? What do you therefore you know that we sometimes we were listening back? Do we naturally just so many more face anymore face another another more another tony we're getting time get like really, really into, like so and then that's where you get into frequency buildup and using the same combo of sounds I mean, you can very the acu leaving the same mike combination using leaving the same position you could do that or if you really want to go for a variation then you go ok let's throw a different mike on the cabinet let's and let's get a different tone in there because that way just inherently the natural you know the different sound different characters of the mike and the phase relationship between that track and what you're doing there you're creating a bigger broader sound so let's ah store another mike on there and try and like get close to even I have no idea what that we did on the text on that sound but sounds like just a pedal and direct or something to me sounds like it could be rolling maybe let's get into direct too you know let's get into direct because we need to talk about that a little bit more because we don't know um when you're doing re and we'll talk about this in terms of ramping but you know you use a direct for revamping but uh for those of you who don't know to hook this up very simple this is going into this is not going into a second input though is it no it's not um you know what hey guys uh while I'm just talking and setting this up we need one more input into the apogee from another bus on the mackey can we do that because I need to get the d I to a separate uh separate input anybody back there can we can we run in other kids? Okay, so uh for those you don't know what's with the eye is just recording the signal I think a touched on this a little bit yesterday but just recording the single straight from the guitar so we're going to put this before right out of the guitar before our shane going into the amt whether it's guitar through pedals are just heart straight into the amp theater our first is going to go straight into the d I the output of the guitar direct output of the guitar is going to go into the mixer and then into a second input inside pro tools and we're gonna record basically just a straight direct sound it's not it's going to be unaffected going to the sound of the guitar pick ups basically going into this so this goes in here and then we need a second thiss would normally now we got the tuner so maybe we'll put the tuner before the dea yeah ok, here we go. So okay, perfect perfect thanks guys. Um and you know what? While they're grabbing that can they grab one more guitar cable longer guitar cable there should be do you have never watch? Okay there wass now it's not here anymore so right now we're not into the tuner anymore but we're just going straight through guitar into the instrument and put and then there's the thing there's an output right here for the amp so it's a simple as that literally it just this's a passed through it goes to the end like normal but you're also recording a direct signal which is going to be coming in on a secondary input inside pro tools and wanted to show people where bypass them all together sometimes right and sometimes we bypass the emp altogether just due to her and just you direct and I'm still in here this again but honestly no I don't know if that was direct with the distortion box it might be but I don't know let's uh it's been like yeah I think it was an ant I'm pretty sure it was an and you know what let's go to a different amp right now really quick um sir this often itself stand by and you're talking oh fantastic so you ok steve sub three some three sure to input and put two yeah fantastic but we'll do the marshal just for the hell that I can't read the speaker I put back there so don't spend too much time fiddling around back there okay good eh? So there's that too number two is fine thank you so let's make up we're make two tracks here just to show you what's going on and but one is still our normal chain so let's call this uh just call this mike or I'll call it overdub over that mike and the next track will do od d I over the idea so let's just pull up really quick let's hit the d I and see if we have that go ahead okay, so I have a signal coming into into here and then we're going to sub three okay, so this is d I this is what the eye sounds like. I play playing hard, let me just make sure seemed like it was more like you see on the other one are now wondering interest ideally on the d I we have ah you're trying to get a especially if you're going revamping ideally want to get a clean possibles no coloration, no, no anything you just want basically like a line coming from the guitar and that's it, but in terms of er dillinger, when I used the d I a lot of times as an actual tone and I showed a little bit of that yesterday just just a really brief thing, but for the challenger stuff, what I wind up doing is a lot of times I'll make it incredibly bright, silly just bright with that and you're right and then you're taking that and then blending that with way might be to lower we wanted to start feeding back I'm not sure I'm turning this down a little bit guys just in case so we're trying to go for we're trying to go from this really bright aggressive like so what we do here again it's that same thing of like what I did now um grabbing a q so we don't have the luxury of unique you post everything here so maybe we'll just roll off all the bottom and on these intraparty we're still two we're not really we don't have enough trouble on this so we're just gonna go extremes we can with trouble right for some reason we're getting a lot of late and cnn put three and I'm not sure one see if this hopefully this is a police isn't going to get us let's just really quick without the track just let me hear uh all right I just don't know if this is going to be too late it seems like it's very late all right, well that's that's only that's near the you know what's interesting think about that what that looks like what it sounds like a perfect example two entirely different things but again to show you the difference blending in that d I actually add a little bit of clarity to the ground there's without the die so the de icing adding that little bit of impact okay so I'm going to see it looks more for cost of than it looks like me you know when it looks like guitar exactly almost looks more like a snare transient so and ideally nature ideally you want a group those together and call this od one or whatever and that way when you're punching in or even court enable does that not work when you group? I don't know I'm not sure with two hd I know it works that you get a group together so even when you're arming the track it will show you to show up together but apparently it does at least you can edit it and punching together so now a player in that sound along with okay it would probably be broken on the strength of course and again that applies to we probably double that up or maybe not double that up but I mean the difference when you hear that with and without it's pretty it's pretty market difference without that that extra top and percussive so and you know and they're on enough to where it just feels messy enough but not messy enough to you know you want it to be perfect but not perfect so also going into the art of die now like the next section here's one let's say is that section trying to think yeah ok, so this one was a die with the distortion box on it and we're blending in the sound that's on this yesterday right showing this yes this's also die heading on distortion as part grows and bills so just creating and building tension again moving moving things around reacting to the player showing how it works uh just showing how you're I'm just responding to what he's doing and like knowing that what the parks coming up and knowing the arrangement and just building the tension enough to them when the next part brings in now the original parts guitars here heavy guitars coming in that and then we layered in these and these air straight d I know distortion but again like I showed you with a lot of brightness no one that come out so there's a little bit of I guess deception involved but it's it's not really it's really again just trying to figure out what the key element what the focus is and those due to teo hitting those with the snare and so we wanted to really focus on what that is so we ended in those die guitar parts tio to really bring them out um ok let's maybe throw in I'm sick over another section here okay you were busting out this because I thought we were gonna do that can't happen but not grab different guitar we couldn't just to show the single coil thanks so much yeah well anyway yeah okay we can show kind of like how we created that part through on and maybe I can even show it with you know what let's show it with a pedal and show you about show us about blending yeah he's in the black sound using the blender that's a really good idea actually so it's kind of recreate that what do they call that call that chirp guitar I think where are you okay so that's ok so there is a clean and a d I right ok so that's perfect so that's exactly what we're going to show right because I did do it on you can hear the distortion it's not as evident on the am side of it but s so I did the blender pedal before the d I and we brought in and again we can bring in the rat put this up on the table to show this okay so our signal before we even go to the d I I'm going to go into this boss line selector pedal and there's a mode here called about it right at the bottom called a plus b you folks like to consume that far in on it but a plus b mix that's the one you want on this line selector pedal so when you put it in both track both channels come on and they're active and then the signal's going to flow through input output here but then there's two loops that are active the one we're not going to stick a loop in it's just going to be the green the a signal that's going to be our normal guitar signals if nothing happened then the b way going to take this out of the send in the big send is out so out send two in of the pedal of the rat and then out of the pedal back into the return here so that's our basic set up we've got the loop the rat in the loop on the b send b so be right here and then we'll be able to and I'll show you once we get it going where the other guitar cable huh perfect that whole chain now is going to go out put that's going to go normally we go if you weren't using a d I that's going to go right to the amp if not in our case we're going into the d I so this guitar signal and that weird kind of strident like direct distortion sound we're going to blend that in and I'm doing it live as we go and as he plays and has the part builds that's fine it's we're showing the technique more than anything that's us that's you right there okay again we're gonna make two new tracks I'm going to call this new shirt chipper I can't take do chirp and new shirt die setting are in but again and put one is is the mike is our whole recording chain and put two is our d I place I can make sure their we've got here's our clean d I sound pull that down here's our distorted d I sound a little harsh over maybe we'll still throughout a little bit so as he's playing I'm going to be doing this part billed as a park reaches its climax that's kind of where we go with it so and this is also going to hit the amp and affect the apa's well I play a little theo even go into low sensitivity on the amp with less game it's pretty hard but that's kind of you want to start a little more mellow something close to that you know it's not trying to get the exact sound but trying to get kind of show you our thought process and how we did it so way again you get the idea it's like I'm like it's the same thing it's this organic thing where he's playing and another parts coming tio to building it's building and building and can even see it like dynamically as the d ies building you can see it getting louder and louder and then in the very last did it because I know the music but I mean, you know when you hear that last visit I mean I just went with d I just to give it that extra extra crunch and extra kind of face and it's kind of like snarl with that part and really just kind of like drive the part home

Class Description

Learn how to get perfect guitar tones in the studio during this 10-hour class on tracking guitars. In this course, Steve Evetts (Saves The Day, Suicide Silence) and special guest Ben Weinman (Dillinger Escape Plan) dive deep on everything you need to know about creating and capturing perfect guitar tones.

Getting great guitar tones is all about the details. Steve and Ben cover how to select the right guitar, strings and picks, how to choose the right head and cabinet combo, and how to get a great tone. From there, they go through the process of selecting and placing mics. Finally, they show you how to track guitars the professional way (no cutting corners— ever!) and edit the tracks so you’ve got everything you need for a flawless mix.

Reviews

Joshua Rathbun
 

Good basic knowledge, which delves into more detailed stuff later on in the course.