Lessons
Intro to Bootcamp
13:44 2Purpose of Pre-Production
15:54 3Technical Side of Preproduction
11:32 4Pre-Production: Setting Up the Tempo Map
12:05 5Pre-Production: Importing Stems
10:10 6Pre-Production: Click Track
15:26 7Creating Tracking Templates
17:03 8Intro and the Tone Pie
04:51Drums - Lay of the Land
10:44 10Bearing Edges
03:09 11Wood Types
10:36 12Depths and Sizes
04:00 13Hoops
02:38 14Sticks and Beaters
07:38 15Drum Heads
07:30 16Drum Tuning
1:03:54 17Drum Mic Placement Intro
10:37 18Basic Drum Mic Setup
53:36 19Cymbal Mic Setup
35:24 20Touch Up Tuning
46:55 21Microphone Choice and Placement
40:34 22Drum Tracking Intro
01:01 23Getting Tones and Final Placement
34:51 24Primary Tracking
31:54 25Punching In and Comping Takes
20:11 26Guitar Setup and Rhythm Tone Tracking
01:59 27Amplifiers - Lay of the Land
10:00 28Amplifiers & Cab Shoot Out
27:12 29Guitar Cab Mic Choice and Placement
03:56 30Guitar Tracking and Signal Chain
29:07 31Finalizing Amplifier Tone
51:24 32Guitar Mic Shootout Round Robin
05:21 33Intro to Rhythm Tracking
07:46 34Setting Up Guitars
15:02 35Working with a Guitarist
05:04 36Final Guitar Tone and Recap
04:10 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
07:35 43Bass Tone Mic Placement
16:42 44Bass Tracking
45:08 45Intro to Clean and Lead Tones
02:15 46Clean Guitar Tones
34:04 47Lead Tones
10:58 48Vocal Setup for Tracking
11:26 49Vocal Mic Selection and Setup
02:38 50Vocal Mic Shootout
09:13 51Lead Vocal Tracking
38:09 52Writing Harmonies
07:44 53Harmony Vocal Tracking
23:25 54Vocal Warm Ups
11:39 55Scream Vocal Tracking
18:56 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
30:50 61Setting Up Drum Triggers
10:41 62Gain Staging and Trim
1:00:54 63Drum Mixing - Subtractive EQ
25:38 64Drum Mixing - Snare
23:00 65Drum Mixing - Kick
11:39 66Drum Mixing - Toms
24:47 67Drum Mixing - Cymbals and Rooms
17:23 68Drum Mixing Recap
08:57 69Mixing Bass Guitar
16:26 70Mixing Rhythm Guitars
1:16:07 71Basic Vocal Mix
1:08:59 72Mixing Clean and Lead Guitars
58:55 73Mixing - Automation
43:35 74Mastering - Interview with Joel Wanasek
31:01Lesson Info
Working with a Guitarist
So you guys are gonna notice when I track that I'm gonna be using a bunch of different techniques with these guys. Gonna do some riffs in single takes, Gonna do some parts off to a click, Gonna do some parts loop recording, and some parts just punching in. And I don't favor any one method. I know some guys who need to record entire albums with just one method and I think that that's a very very bad way to go. You should be proficient at every method of guitar recording so that you can use the right one when appropriate because there's always a reason to change up what you're doing. It always has to be riff appropriate and part appropriate so have a bag of tricks, a bag of recording tricks. Be good at recording just to a click. Be good at recording people in loop mode. Just practice it all so that when you record a band who does many different things you can choose the appropriate one at the right time. One thing that we're not gonna cover in this is guitar editing, like editing DI's to...
the drums. And that's because these guys are really great players, there's no need for that. We're gonna get everything with the takes. I don't need to fix them. However that's not the case all the time. Sometimes you really do need to fix guitar players and there're some very definite techniques that you should know about time aligning DI's so that you can have a tight modern product. So I'm making a supplemental guitar editing video that will show you all about how to edit DI's. All you have to do is go to urm.academy/metalrecordingbootcamp and you can get that video. And with that let's talk about some tone in your hands. We give you some tone actually. There you go. (man playing metal guitar) So when I play you'll probably notice that I play pretty hard on the, (strums guitar) on the guitar with my picking hat and the reason for that is it means I can have less gain at the amp stage. And if you have less gain at the amp stage, more of the notes come out. It's not soaked in loads of distortion which will sound bad for the final product. So if you learn to pick harder basically, along the way it might take years to sort of bring this technique to fruition but it's worth it in the end because it's just gonna have, your sound is gonna be much better in the final products. So. You know I've always found that the best sounding guitar players are the ones that pick the hardest. However, lots of guys who pick really hard pull it out of tune, therefore ruining it. So how did you get it to the point where you could play as hard as you do but not go out of tune. Because you don't ever use tuning bridges or anything like that. No, it was literally just, I guess trial and error over a long period of time. I'd probably say between five and 10 years recording in Cubase to a click. Which is definitely also a very important part of recording if you've never played to a click before. Then the moment that you do is really gonna mess you up. So yeah, it's practicing to a click, going back over what you've done to see what mistakes have been made, and eventually if you can pick up on those mistakes you'll try and perfect them the next time you record. And after a certain amount of time it will just get a lot better. So I guess picking hard is like learning how to tune the instrument that you have in your hands as well. So we see every single instrument is different, it has sweet spots and you know, learning all that stuff will help you out in the recording session. And that's a very important skill to develop as a guitar player. And actually as a producer who works with guitar players you should be good enough at guitar to where you can play chords in tune. Yeah. Because lots of guys have not developed their skills to that point. And there are many times where a guitar can read perfectly in tune, Yeah. On the tuner, and be perfectly intonated yet the moment a person starts playing everything just goes sharp. Yup! And it's because of the way they hold the neck or the way they pick. Yeah, exactly, yeah. Another thing as well about the picking hard, there's picking hard and then there's picking consistently as well. So it's not just picking hard and going relentless on it. It's about controlled as well to make sure that everything is consistent. The more consistent the better it's gonna sound.
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.
Will
Wow is all I can say. This bootcamp goes in so much depth from tuning drums, setting up guitars, to recording and mixing. I have learned so much by participating in this bootcamp. It has taught me some new recording techniques and signal routing for my mixes. I just want to thank Eyal, Monuments, and Creative Live for taking the time to do this. It has been amazing and I will keep going back to these videos.
Student Work
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