Skip to main content

Mixing Clean and Lead Guitars

Lesson 72 from: Recording Metal with Eyal Levi: A Bootcamp

Eyal Levi

Mixing Clean and Lead Guitars

Lesson 72 from: Recording Metal with Eyal Levi: A Bootcamp

Eyal Levi

most popular music & audio

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

Lesson Info

72. Mixing Clean and Lead Guitars

Lessons

Class Trailer
1

Intro to Bootcamp

13:45
2

Purpose of Pre-Production

15:55
3

Technical Side of Preproduction

11:33
4

Pre-Production: Setting Up the Tempo Map

12:05
5

Pre-Production: Importing Stems

10:11
6

Pre-Production: Click Track

15:27
7

Creating Tracking Templates

17:04
8

Intro and the Tone Pie

04:52
9

Drums - Lay of the Land

10:45
10

Bearing Edges

03:10
11

Wood Types

10:37
12

Depths and Sizes

04:00
13

Hoops

02:39
14

Sticks and Beaters

07:39
15

Drum Heads

07:31
16

Drum Tuning

1:03:55
17

Drum Mic Placement Intro

10:38
18

Basic Drum Mic Setup

53:37
19

Cymbal Mic Setup

35:25
20

Touch Up Tuning

46:56
21

Microphone Choice and Placement

40:34
22

Drum Tracking Intro

01:01
23

Getting Tones and Final Placement

34:52
24

Primary Tracking

31:54
25

Punching In and Comping Takes

20:11
26

Guitar Setup and Rhythm Tone Tracking

01:59
27

Amplifiers - Lay of the Land

10:01
28

Amplifiers & Cab Shoot Out

27:13
29

Guitar Cab Mic Choice and Placement

03:56
30

Guitar Tracking and Signal Chain

29:08
31

Finalizing Amplifier Tone

51:24
32

Guitar Mic Shootout Round Robin

05:22
33

Intro to Rhythm Tracking

07:46
34

Setting Up Guitars

15:02
35

Working with a Guitarist

05:05
36

Final Guitar Tone and Recap

04:11
37

Guitar Tracking with John

15:19
38

Guitar Tracking with Ollie

32:03
39

Final Tracking

22:08
40

Tracking Quads

33:44
41

Intro to Bass Tone

01:26
42

Bass Tone Setup

07:36
43

Bass Tone Mic Placement

16:42
44

Bass Tracking

45:09
45

Intro to Clean and Lead Tones

02:15
46

Clean Guitar Tones

34:05
47

Lead Tones

10:58
48

Vocal Setup for Tracking

11:27
49

Vocal Mic Selection and Setup

02:39
50

Vocal Mic Shootout

09:14
51

Lead Vocal Tracking

38:09
52

Writing Harmonies

07:44
53

Harmony Vocal Tracking

23:25
54

Vocal Warm Ups

11:40
55

Scream Vocal Tracking

18:57
56

Vocal Tuning and Editing Introduction

01:35
57

Vocal Tuning and Editing

29:26
58

Routing and Bussing

25:16
59

Color Coding, Labeling and Arranging Channels

17:54
60

Setting Up Parallel Compression

30:51
61

Setting Up Drum Triggers

10:41
62

Gain Staging and Trim

1:00:54
63

Drum Mixing - Subtractive EQ

25:39
64

Drum Mixing - Snare

23:01
65

Drum Mixing - Kick

11:39
66

Drum Mixing - Toms

24:47
67

Drum Mixing - Cymbals and Rooms

17:24
68

Drum Mixing Recap

08:58
69

Mixing Bass Guitar

16:27
70

Mixing Rhythm Guitars

1:16:08
71

Basic Vocal Mix

1:08:59
72

Mixing Clean and Lead Guitars

58:55
73

Mixing - Automation

43:36
74

Mastering - Interview with Joel Wanasek

31:02

Lesson Info

Mixing Clean and Lead Guitars

Welcome back everybody. This is day 18 of my CreativeLive Metal Recording Bootcamp. My name is Eyal Levi, and today we're gonna be talking about clean and lead guitar mixing and a little bit of synth. If you're just tuning in now and you have no idea what I'm talking about, like I said, this is day 18. There's 17 days of stuff before this that involve pre-production, drum recording, everything that goes into that, everything that goes into tracking guitars, and bass, and vocals with the band monuments, by the way. We've gone through all that, editing, et cetera, onto mixing, and have already done drums, bass, rhythm guitar, and some vocals too. Moving on to cleans and leads and some synth. We'll try to make it sound like a song. I went ahead and cleaned up the session a little bit. I got rid of all the Amp tracks. I mean, I deactivated them and hid them. Nothing's deleted, in case I realize that I hate this Amp Sim, or whatever. I got rid of a pair of rooms that we're not using, and ju...

st went through and cleaned house on stuff that isn't getting used. The session started ridiculously large, but it's slowly but surely coming back down to size. I got rid of the POD rhythms as well, but there's something here that I think I need to keep. I think this is a POD lead. We'll have to listen in context. (electric guitar music) Sounds like it, so, we'll deal with that later. So, cleans and leads. We've got three options here. One, is we can just use what was on the album. I have those tracks, and they sound great. Sometimes there's no need to reinvent the wheel. Two, we can use the Amped tracks that I got in California when I recorded John Brown. By Amped I mean the POD XD patches that he made. Or, use the DI and try to make my own. Now, that's kind of the last thing I'm gonna try, because he's got such a unique thing going on with his cleans. I think this is more about just getting his stuff right. Let's check this out. I'm going to unmute them from these buses. Let's hear what we got. (heavy metal music) All right, first thing I'm gonna do is jack these up in volume. Okay, so see that I've got some fade ups right here. They are just one of these tracks reversed, okay. I'm gonna make a group, so that it can affect all this stuff the same way. Clean plug-ins. Now, I don't want volume on it, because I had to set an internal mix for these. I don't know what's supposed to be louder or softer yet, so, we'll leave volume out of the equation for now. We're gonna mute these effects. (heavy metal music) He gave me stereo tracks that I believe already have the tracks panned the way that he would have wanted, but maybe not. They look like they're actually even, so I can pan them now. That's just what I'm gonna do. (electric guitar music) Okay, what I'm gonna do is I'm gonna have the lowest one be the narrowest. Almost mono. This is just an experiment. Then I'm gonna have the, one octave up, be a little wider. And then the highest one, even wider. I'm not going full, because they have to play at the same time as the heavy guitars. So I wanna kind of give them their own spot, but we'll see. (electric guitar music) Weird, oh. That would make sense. (electric guitar music) You can hear that he is playing this really, really hard. And it'll sound fine when its blended in, but I'm gonna have to hide some of that when he really digs in. First of all, I'm gonna cut off lows, 'cause don't need them at all on these tracks. (electric guitar music) (heavy metal music) Okay, I think I wanna smooth those out just a little bit. They sound pokey and weird. I don't like 'em. (electric guitar music) (heavy metal music) I kinda wanna glue these together a little bit. I'm gonna try a Virtual Tape Machine. See what it does. (heavy metal music) (electric guitar music) (heavy metal music) (electric guitar music) Whoa. Guess that's the new version of Crystalizer. They said that some of the parameters are 10 times as powerful as the last version. I guess I just found that out. (electric guitar music) Jesus, wow. (electric guitar music) Well I like that on it's own. But that can't be the song. (electric guitar music) (heavy metal music) I'm going to solo safe that. So that I can hear them. (electric guitar music) And it's funny, sometimes you just throw a Multiband on there and it does the work for you. I just kind of wanted it to clamp down on John Brown when he starts going crazy with the picking hand, and making the guitar sound insane. Like I said, sometimes you just put a Multiband on there and it kinda just reacts and does what it needs to. (electric guitar music) I think the Virtual Tape machine might want them up a little, but, as a matter of fact, I'm gonna just put the Virtual Channel on there. That might be all it really needs. It just sounds a little, I hate to use this word, but a little cold and digital. I hate that word because everything's digital. (electric guitar music) (heavy metal music) See what happens. (heavy metal music) Still wanna round this stuff off just a little bit. See if this helps. Back to the original idea. (heavy metal music) (electric guitar music) (heavy metal music) Okay, I'm gonna try one more thing. (heavy metal music) Right, that's good for now. (heavy metal music) That's good for now. I'm not gonna really know until I start balancing it with the vocals. We're gonna go ahead and do the rest of these cleans and leads and get them situated. (electric guitar music) Okay, I now that I've wrote in fades, but, this is a job for automation beyond the fade. It'll still follow the fade up. I just need it to be a little bit more extreme. (electric guitar music) Maybe not that extreme, but that's the idea. (electric guitar music) And, I guess I'm going to automate a filter to get rid of some high end as that ramps up. I like the volume build, but, I don't like the ridiculous amount of high end. What's a good filter? Boom. All right. I just went to the right Automation thing. Adding Frequency. I'm not sure if it'll do it for both even if they're grouped. Nope. Frequency. Okay. I want to not make things messy, so, turning off the cleans and clean group, and I'm making a new one called Clean Auto. It's so that they follow automation. I'm gonna tick off, just in case, all the plug-ins, except for the fifth insert, 'cause that's really all I want affected. Volume. Cool. Interesting. All right, well at least that's working just fine. (electric guitar music) I'm going to automate the sound level right here as well, for the guitar effects. Hear what that does. So that they peak up. (electric guitar music) (heavy metal music) (electric guitar music) All right. Just making a little bit of room for things that are coming next. Fade that out. Even though it fades out already, this will help get out of the way of this a little quicker. I'm gonna bump this up 1.5 db, however, it'll gently go back down to normal by the end. (heavy metal music) Cool. I like the little noise that it does at the end. I think it's tasty. I like how it gets noisy at the end. Lemme just check these final cleans. (heavy metal music) Okay. Same thing as before. I'll deal with them in more detail with vocals. Let's check these leads. I already cut some of the bottom off of them. As is to be expected. (heavy metal music) Call it Lead Tweak. (electric guitar music) I'm wondering if that's the only thing that happens. (electric guitar music) Nope. (electric guitar music) Just wondering what this would do. Please don't die. I implore you not to crash on me. Thank you. Thank you. (electric guitar music) What I'm doing is I have one of them without the delay, and then the other one I'm delaying really, really hard. We'll see what happens. (electric guitar music) (heavy metal music) Here's that POD part I was talking about. Let's check what that's all about. (heavy metal music) Sounds cool. (heavy metal music) Guess I gotta make a group. (heavy metal music) It's getting pretty cool. Basically, I cut out frequencies because I'm almost making it sound like these POD tracks have a bit of a wah on them, like a wah that's engaged, but that pumps up a lot of nasty high mids. Then I put the S1 Imager which I usually don't do but I just wanted it wider than the cleans. And then I'm tucking it under. I think it adds a cool layer. (heavy metal music) All right, synth time. See what we got. Just need to remember that there's two different kinds of synth. First of all, this needs to be a different color. Not too close. There we go. If I remember correctly there was that. (gentle synth music) Two different synths. Just checking if I already did anything to them. (heavy metal music) (gentle synth music) (heavy metal music) Something about Decapitator and synth, they're just good friends. You should know that. (heavy metal music) Lots of stuff to automate there. Do that in the automation section. Let's hear this other synth. (synth music) That just sounds cool already. (heavy metal music) Queue it a little so that it gets out of the way of the guitars some. (heavy metal music) All right, this is a big job for automation when I get to it. Mainly, I just wanted to add harmonics, 'cause harmonics are the friend, and then get rid of some clashing frequencies and then accentuate some of the frequencies that make this drowning synth sound like itself, and then turn it down. It's gonna be going up and down in volume, depending on what's going on. This is quite a dense mix already. (heavy metal music) Okay. Let's check something. Oh, I know what's missing. G Intro Guitar. Making this green, just like my other guitars. We're adding this to guitar rhythms, well Guitar Rhythm Box. (electric guitar rhythm) Yeah. (electric guitar rhythm) Cool. (electric guitar rhythm) (heavy metal music) Sounded pretty cool actually. (electric guitar rhythm) (heavy metal music) Nice. (heavy metal music) Cool, so that's it with cleans and leads and synth until we get to automating. That's when I'm gonna really fine-tune everything. Probably automate EQs and automate tons of levels, and really get in there. But, this is not something that can stay static, and will require lots of automation. Thanks for tuning in, and I hope you're enjoying yourself.

Class Materials

Bonus Materials with Purchase

Eyal Levi Bootcamp Bonuses
Drum Editing - HD

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.

Student Work

RELATED ARTICLES

RELATED ARTICLES