Pedals and Punch Ins

 

Studio Pass with Steve Evetts and Ben Weinman

 

Lesson Info

Pedals and Punch Ins

Experimenting with pedals for total variations once we have our base tone and then sometimes you might want to augment the part or even in the part in itself like I said, I will punch him with an entirely different sound again sticking to the theme of committing I'll punch in like I'll say let's let's make it a little dirtier let's take the rat and well we'll patch into a rat pedal and he'll be playing and I'll just track anything and just punching for like a little second with this we're just distorted sound and you know so I love petals again sticking to my fema committing I don't believe in like let's get a guitar sound and then let's add delay later let's had reverb later let's let's get the sound I mean that's how did you do live you're playing with your pals you want to reveal when you retire you hit three or pedal you have a river tank in your ample you had three or switch that's what you do so why why are we gonna what's the point what's you know let's commit to a sound and let...

's get that down tio into the recording and deal with that how it is so we've got a few different pedals here I'll just uh just briefly proco rat which is like a kind of a square wave distortion it's really kind of gritty, dirty it's one of my favorites thie old classic the I've honesty estan tube screamer this is always great for rock metal I mean the t est nine and the marshal a hundred is such a classic combo for heavy rock it's a go to on so many people's records. Um, and then we've had a couple of tc elektronik, luns, the hall of fame river, which is really cool uh, and then we've got a delay and delay the flashback delay great panel and I don't even have this one. This is really cool! And I heard it's really great a couple have tried this this corona chorus to for some cleaner things and sometimes for uh uh, you know, ben is not a big profit is ben is not a big fan of any kind of most kind of modulation effects on guitar. He doesn't like phaser or flander, anything that sweeps he's not a fan of it, I'd have I put when I get that thing off their current of the chorus, though, I mean, we've done things with chorus, especially only cleaner tones. I'm not a big fan, of course on so much on rhythm guitars or heavy guitars, but for chorus stuff we definitely use course on on some clean things sometimes you make me sometimes did you make him? Yeah, unclean and then another way to do it, which I can't show unless they changed it. No, they didn't. Okay, I can't show how to do this on this version of pro tools hd version approach als has the ability to very speed um the recording um very speed is a thing is an instance where you actually take the entire recording and you can slow it down and it comes from the the analog world tape you were able to very speed you couldn't you can slow the real down or speed the reels up to pitch them differently and ah la times I'll do something with like a fixed kind of course, I used to do that a lot with tape and you know I do it on pro tools as well, because I have hd and be the ability to very speed but doubling up a guitar part with the with it basically pitched down or up slightly so you're out of tune you're basically just it's a fixed course you're fixed your d tuning you know you could do it with pitch, which is almost the same kind of thing like the pitch plug in, but you're just detaining the guitar ever so slightly against each other and just the slight of too much is going to sound terrible, but within a slight variant there's a slight window where up and down a few percentage you know, upper down that it creates that can create this really nice kind of really subtle chorus effect when you're tracking more than one guitar you know, even if book guitars are into yeah they're definitely naturally course fatigue you have on your hand and that's good that's a big reason why double tracking sound because what does because the variations in time and you know delay itself when used of course is nothing more than a delay pedal with a very, very, very subtle very very slight time yeah most delays day pills don't do that small of a thing that some of them d'oh but that's all that's all delaet courses is a very subtle delay very very short delay with modulation so that the actual delay the time is going up from you know point one you know point two milliseconds two point seven milliseconds and slowly with a with an oscillator is controlling that time and it's it's going up and down at a certain rate and that's what creates that effect that the little variances in time create that chorus effect and that uh that's a big thing of double tracking there's little subtle variances in time between the two guitars and you know and even harmonics and everything and that's going to create that bigger, wider sound I think courses probably initially invented to try and make people sound like there's two locals going what's well it's actually theory journal term the original turn it was actually invented for well originally they call this plan jing and they were aditi was determined was used in the beatles and it just really quickly the history recording history thing and john lennon you know they used to double track their vocals the beatles and paul never had a problem with it and john I would hate double tracking his vocals he only wanted to sing it once and sing it live and get the right performance and that's the end of it he goes so fun as a function of then being so huge so quick they would demand things from their recording engineers and the recording engineers would have to end the engineers that are you my studios abbey road would actually have to invent them to please the veal because nobody wanted to say no to them this is literally legitimate look this up this is true story they john lennon would say I just saying it once guys just tracking double track it for me and they go I need I need go to lunch or go to tea and then they go ok, what do we do now? And they I had to figure out so they figure out howto create a double track by feeding the feeding the vocal that was there because there weren't any pedals or anything like that, they fed it to an external another tape recorder and then put it back in and use the signal off the two different record heads to create a delay and create a double track, and then t get the variances between them because they would always be like the fixed. There would be like a set delay, so for them to get the difference in time, the reels themselves the actual multitrack, the realtor rio, the outside of the real. The metal part is called the flan jj that's, the actual tunnel turf, and the engineer would press his finger to change the time to slow, drag the tape and slow it down and speed it up and that's where the term flinching come from. Um, but yeah, sorry, little history lesson. I did not know this, but yet that's s o, of course is nothing more than right. It's it was it's based on basically a double tracking. Like being able to like, trying to get a one a creative to two takes from one basic right. But when you put it together in mono and that's, larry, that the variations in that the modulation of this time in the sound together creates this nice kind of watery effect which will show you on dh then this is just I speed estimator it's just a noise suppressor. So sometimes when you put a bunch of pills together as you get a little a lot of extra buzz in home and she like a lot of stuff and you know, sometimes you want that in between like, stops a lot of times you don't s oh, this is a great way to just quiet it up, and this one is there's other pedals out there that do the same thing. This one I found this is a more of a newer invention, and this one seems to really let the full of the tone of the guitar a lot of the noise estimator of noise suppressors tend to dole out the sound, and a lot of times after sometimes we would have to put, like, a week after same thing that I was talking about with the compressor, we would have to put a e q afterwards to maybe bring it back up a little bit, but this one really doesn't. It doesn't really any different stressed there is not a game it's, not a game, people it's a more gentle gate. Yeah, it's not a hard up and down based on and then this one is a very interesting thing because I do a lot of things I do a lot of instances where you blend in a sound but you don't want to always go like all the way through because some petals delay pedals they have a wet dry blend but some of them don't especially a lot of the young modulation ones does the chorus one it does aa lot of course pedals do not have a wet dry blend on them and the flanders like the classic like the electric mistress select our minds electric mistress slander no wet dry blend you just put it on and it's full on that sometimes it's way too much so I have another another pedal that I was going to bring, but I figured I wanted to make it sure that it's accessible for everybody and the pedal I have I have a boutique custom made blender pedal but uh you can buy this anywhere any guitar senator and you know online the boss line selector and this will enable us to we'll be able to patch in any of these effects including distortion which I do a lot and I'll show you how s o then you have your dry signal and then you're just blending in just enough of the other pedal to your taste so it can create some really good things with distortion especially like the ivan is to screen, which is fantastic such a great sound but it tends to cut some of the bottom end the guitar it tends to kind of like shelf off the really low sometimes you're really going for that thick heavy about him so it wants that's similar to how you do with the mikes exactly just like he's going through a priest that which completely colors and changes this town tone right so it was a big further and I want to give what that doing it enhance it so I'm just bringing in just enough of the other sound and still letting the original sound go through which is really important I do this on especially on base this is a big thing because based on love using distortion pedals on base but distortion pedals completely crushed like obliterate the bottom and on bass guitar this enables you to get while the low end from the main signal and then bringing in some enough distortion t get that get that feeling so well be experiments um pedals for total variations and then punching in ideally you know I try to go for a full performance if we can but a lot of times especially I'm doing your stuff it was killing the play all the way through but so you know but on some songs and some other things you know go for it go for the full take try and get the full of I'd play along with the drums react to them you know it's a performance so you go for full performance and then afterwards, like, ok, let's, go back and this part you know, you could really hit it harder or you could back off a little bit or, you know, like maybe maybe you just how you're picking on the guitar like, you know, so punching is needed and again don't look at the screen, I do it and I fall prey to it I'm tracking and I'll be watching them and I will punch in looking at the screen and I swear to you nine point nine times out of ten if I'm looking at the screen and I punch in, I'm off if I don't look at the screen and a punch in its right, so use your ears that's what we're here for that's how music is perceived music is through the years that's it that's how you hear that's, how you feel it you feel it through your body too and live performance it's vibrating your whole body it's more of a whole body experience but you know it's, not visual I mean it's visual when you're watching them live but you know, when you're recording it's, it's all about your years, like I said, when you do the tape, there was no screens there's no anything you had to feel it so that's how we do it

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.