Color Coding, Labeling and Arranging Channels
Lesson 59 from: Recording Metal with Eyal Levi: A BootcampEyal Levi
Color Coding, Labeling and Arranging Channels
Lesson 59 from: Recording Metal with Eyal Levi: A BootcampEyal Levi
Lesson Info
59. Color Coding, Labeling and Arranging Channels
Lessons
Intro to Bootcamp
13:45 2Purpose of Pre-Production
15:55 3Technical Side of Preproduction
11:33 4Pre-Production: Setting Up the Tempo Map
12:05 5Pre-Production: Importing Stems
10:11 6Pre-Production: Click Track
15:27 7Creating Tracking Templates
17:04 8Intro and the Tone Pie
04:52Drums - Lay of the Land
10:45 10Bearing Edges
03:10 11Wood Types
10:37 12Depths and Sizes
04:00 13Hoops
02:39 14Sticks and Beaters
07:39 15Drum Heads
07:31 16Drum Tuning
1:03:55 17Drum Mic Placement Intro
10:38 18Basic Drum Mic Setup
53:37 19Cymbal Mic Setup
35:25 20Touch Up Tuning
46:56 21Microphone Choice and Placement
40:34 22Drum Tracking Intro
01:01 23Getting Tones and Final Placement
34:52 24Primary Tracking
31:54 25Punching In and Comping Takes
20:11 26Guitar Setup and Rhythm Tone Tracking
01:59 27Amplifiers - Lay of the Land
10:01 28Amplifiers & Cab Shoot Out
27:13 29Guitar Cab Mic Choice and Placement
03:56 30Guitar Tracking and Signal Chain
29:08 31Finalizing Amplifier Tone
51:24 32Guitar Mic Shootout Round Robin
05:22 33Intro to Rhythm Tracking
07:46 34Setting Up Guitars
15:02 35Working with a Guitarist
05:05 36Final Guitar Tone and Recap
04:11 37Guitar Tracking with John
15:19 38Guitar Tracking with Ollie
32:03 39Final Tracking
22:08 40Tracking Quads
33:44 41Intro to Bass Tone
01:26 42Bass Tone Setup
07:36 43Bass Tone Mic Placement
16:42 44Bass Tracking
45:09 45Intro to Clean and Lead Tones
02:15 46Clean Guitar Tones
34:05 47Lead Tones
10:58 48Vocal Setup for Tracking
11:27 49Vocal Mic Selection and Setup
02:39 50Vocal Mic Shootout
09:14 51Lead Vocal Tracking
38:09 52Writing Harmonies
07:44 53Harmony Vocal Tracking
23:25 54Vocal Warm Ups
11:40 55Scream Vocal Tracking
18:57 56Vocal Tuning and Editing Introduction
01:35 57Vocal Tuning and Editing
29:26 58Routing and Bussing
25:16 59Color Coding, Labeling and Arranging Channels
17:54 60Setting Up Parallel Compression
30:51 61Setting Up Drum Triggers
10:41 62Gain Staging and Trim
1:00:54 63Drum Mixing - Subtractive EQ
25:39 64Drum Mixing - Snare
23:01 65Drum Mixing - Kick
11:39 66Drum Mixing - Toms
24:47 67Drum Mixing - Cymbals and Rooms
17:24 68Drum Mixing Recap
08:58 69Mixing Bass Guitar
16:27 70Mixing Rhythm Guitars
1:16:08 71Basic Vocal Mix
1:08:59 72Mixing Clean and Lead Guitars
58:55 73Mixing - Automation
43:36 74Mastering - Interview with Joel Wanasek
31:02Lesson Info
Color Coding, Labeling and Arranging Channels
I'm going to go ahead and finish up the color scheme between tracks and buses. Ans so the way that I'm gonna do it is this: so that it's really, really easy to know where the hell I am when I'm scrolling through, 'cause look at this, it's insanity. So, buses are gonna be bright and tracks are gonna be dark. And secondary tracks, like DIs or something, are gonna be even darker. And that's how I'll know. So, for instance, this is the vocal effects bus, right? So, we're just gonna go ahead and make that bright purple. And then, these are the actual vocal effects right here, so make them a shade darker. And here's a vocal scream bus, so dark purple. And you see, so everything vocal, all the vocal buses, the vocal scream, the vocal sing, the vocal effects, they're all gonna be this bright purple. And then the individual tracks that go into that are gonna be darker. And this just helps. It helps me and it'll help you if you do it, too. So, scream, here's the scream bus, here's the scream tra...
ck, so a shade darker. Here we've got the vocals sing and a vocal sing harmony are background buses, so both of these will be bright. And here we got the lead. So, one shade darker. Now here's something interesting, because these are all clean vocals, even though they're going to two different buses, they're gonna be side by side. They're working together at all times. And for the sake of how I think, I'm gonna actually take these harmonies and make them darker, so that at least I have a little bit of differentiation here between the tracks when I look down. Alright, so, remember I said that guitars cleans and leads were both going to the same bus? Well, I don't like that. I'm looking to see if there's a guitar effects bus. And I don't see one, so this is a good opportunity to make one. And to also make a clean bus. And I'm gonna just clone this aux right here. And then change it up. (clicking) So, call this one guitar cleans. And this one effects. Alright, cool. So, I'm gonna put the effects at the top, since they both go to that and so I'm gonna make these three buses, I don't like that orange, but I'll deal with it. Okay. The things you have to do in life. Alright, let's see. Let me find where there are some leads. Okay, these are the leads. See my file naming convention, right here, saves me because if you remember from day one, when I talked about pre-Pro and about file naming convention how I put the group instrument first and then what it is, so for instance, with guitars, I go G dash left one. G dash L two, so I know guitar lead one, guitar lead two, guitar lead three, wow, rocket science. But now it was easy for me to find, as opposed to right here, G-C-one, G-C-two, what might that be? Guitar clean one, guitar clean two. This stuff seems elementary, but trust me when you have to get into a super complex mix like this, all these little things add up and either they're gonna make you more efficient or less efficient and I choose the side of being more efficient. Alright, the guitar cleans are going to be a shade darker. And then the guitar leads are going to be a shade darker. These look like DI's, can't tell. (clicking) What's it even going to, guitar leads. Ah yes, that would explain it, the volume's turned down. Okay, so, I'm not planning on using these DI's right now. So for the sake of not having DI's everywhere, I'm going to make these tracks inactive and hide them. Could always come back to them later, if I need to change anything. Get that out of here. And then looks like I've got some lead DI's as well. So, I've got leads one through four and then lead DI, well one through three, actually, it looks like. Track, delete. And then lead DI, one through three, I'm going to make them inactive. And hide them. There is no lead four, goodbye. Alright-y this is easier to deal with. However, there's one major thing that's left, which is that I don't have a clean guitar bus in the I-O. So I'm gonna go name it. (clicking) And now, all these cleans can go to clean guitar and then, clean guitar bus can get clean guitars. And then clean guitar bus can go to clean and lead guitar aux, beautiful. Okay, and now, guitar leads can also go to my aux for clean and lead guitars. And then, I'm going to do this differently. Let's see if I have a guitar effects send. Nope, I'm gonna make one. Again, the reason that I'm naming all this stuff is because it is so much easier to work with named buses rather than like Bus 34 through or Bus 11 to and they have to remember how you had all that going. This way, I just know that the guitar effects goes to the guitar effects buses, how much more simple can it get? So, bus guitar effects and then, I'm gonna set up a send on the clean guitars to go to guitar effects. And then I'm going to do the same on leads to go to guitar effects. Now I don't totally know what the guitar effects are going to be, but I'm just gonna, just for the sake of having something to play with, I think that I'm going to add, where is it? There it is, Effect Rack. Anyone who's not familiar with Soundtoys 5, you should be, you now get this Effects Rack with it. Really, really awesome. You can do all kinds of crazy shit with it. So I'm gonna put EchoBoy on here and let's see what else. You've got a Crystallizer, yeah, EchoBoy and Crystallizer. Okay, so since these are on a send, at least, oh I gave myself two Crystallizers, I don't want that. Goodbye. Where did my EchoBoy go? Alright, so EchoBoy has to be on mix under percent, because it's a descend. The Crystallizer mix, I just want to add a touch of that to the effects and then the third one, doesn't even exist. Okay, cool. I don't know if those are going to be the guitar effects, but I'm actually just gonna turn this down, but at least it's set up now. And, as per usual, I'm gonna test it. Cool. (guitar notes) Alright. I'm gonna record it. I want one last thing, my guitar effects need to go to my guitar aux. The clean and lead guitar aux. That they're just printed on there, one big sound. So, let's see, is it gonna work? (guitar music) Cool, we've got that and then, just for now, I'm going to enable my lead clean print so that... can check if that works. (guitar music) Okay. As you can see, I just made myself a lead clean stem. And I'm gonna turn it up a little. (clicking) (guitar music) Looks like it worked, there you go. I test these things because I don't want to assume that, you test it once, make sure that it works and you're never gonna have to test it again. While I'm setting it up, I don't want to by chance have something that's not routed right or not bouncing to the right place and then have mistakes take place. So, as you can see, it also bounced louder and not as loud versions. Alright, cool. Alright, let's keep on going. Clean guitars... Okay. I'm gonna skip this real quick, 'cause this is crazy stuff. I'm gonna get to it in a second. I'm gonna start with drums. Drums is such a huge topic, just go ahead and give them all a color to begin with. Like blue. Cool. Okay. So I've got a lot of stuff here. Let's just start getting right to it. (clicking) That's what I thought. Okay, these are keys for which the trigger gates off of. And this is midi, so (music playing) these tracks (music playing) stop it. These tracks right here, and this is some version of contact that he was using that we don't even need, and that's Steven Slate Drums, we don't need that. So just gonna get rid of it all. So, contact of slate, delete. All the midi, can't exactly make it inactive but I sure as hell can make it small and get it out of here. I will need it later, I think, if I need to print any samples, but we'll get to it, if needed. As a matter of fact, I'm gonna take it and just put it at the very bottom. Just completely out of the way. Alright. All these gates, I'm gonna put them with their respective instruments. Now, you remember when I said that I use brightest for the bus? Then one shade less bright for the actual tracks. And then one shade less bright for anything else. So these gate keys would be the darkest shade, for instance, that's kind of what I mean is anything else, like trigger splat, or something like that, that you use to trigger something or to enable a side chain. So, got these for the tawns, as well.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Ron
I'm on lesson 19! Already worth every dollar!!! Priceless insight! I have already incorporated some of the ideas (preproduction common sense stuff that I never thought of, but damn). VERY HAPPY with this course! ALWAYS LEARNING and looking forward to the next 50 (or whatever) lessons!!! Excellent course! GREAT PRODUCER/ENGINEER, GREAT DRUM TECH, and GREAT BAND!!!! THANK YOU!!!!!!!!
ceeleeme
I'm just part way though and I'm blown away by the quality approach Eyal takes to getting the best out of the sessions. I love how well everything is explained and Eyals calm manner is just awesome it really makes you want to listen to the gems of wisdom he offers.
user-eb82bd
Amazing knowledge is being presented here. If you want to start out recording, this should be your first step, it'll save you lots of time and get you awesome results. Highly recommended class.
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