Lessons
Day 1
1Studio Walk-Through
14:00 2Choosing Gear and DAW Discussion
42:05 3Prep: Strings and Tuning
30:44 4Prep: Picks and Playing Position
18:10 5Tracking
22:46 6Editing: Melodyne and Quantize
33:22 7Editing: Noise Gate
20:00Editing: Adding Glitches and Compression
22:20 9Amp Sims and Impulse Responses
38:25 10Real Amps and Mics
27:57 11Reamping Overview
11:31 12Reamping Demo: One Mic
20:03 13Reamping Demo: Two Mics
13:12 14Axe-Fx vs. Kemper
21:25 15Making an Impulse Response
16:08 16Axe-Fx Tones
18:50 17Mixing Overview
24:44 18Mixing Demo
15:01 19EQ and Compression
38:08 20Tone Layering
41:05Day 2
Lesson Info
Reamping Demo: Two Mics
Okay, so this this particular dual miking techniques and when I do a like I do it with purpose I don't randomly do it it might take you a while to learn why you would do it, mike and I'm going to go over some of those reasons sometimes it's for a problem and solution or maybe you want to add something to it and the same goes with tone layering which we're going to get into later but right now this is dual mic placement this particular technique eliminates fizz okay, so let me try to explain it when I first saw this um be demonstrated I my blew my mind because it was a really it has a really cool result so painful it's intensive okay, so we have my favorite way of my favorite mic placement here it's a fifty seven off access by about minutes and then we have another microphone you could also use a condenser mike, which may be more ideal for this technique because of a high end specifically of that microphone these kind of have a high end roll off in the really top really high frequency r...
ains where what I would call the fizz lives um now I'm going to slowly move the microphone back as I'm listening and listen at home you'll you'll notice the fizz disappeared it's because of some kind of face cancellation miracle of science ah wait so if you were paying attention at home and different uh as I move the microphone back, you're able to hear the high end just kind of disappear and it what does it kind of? It kind of puts a natural emphasis on the mid range scroll up here here I'm gonna do the difference between one mike and two. So this is our regular microphone that we had gone all right? Regular mike theoden, son of the other mike I know gets louder but it's also getting fuller sounding at the same time so you can hear that the fizz not on ly it's getting louder it's always like the fizz is staying the same volume, but then the entire tone is getting louder. Um, which is a very, uh, very valuable technique whenever you're dealing with some amps have a lot of fizz uh different microphones will make different results and let's do one one, uh, weird thing really quick. Oh, well, I'm doing this. Can you switch the the d six? Thank you. Um now this has a lot to do with phase if you're not careful with what you're doing with the mic placement, you could mess with face, so I'm going to invert the phase on one so you can hear what it sounds like when they're mixed together with the messed up face that's both microphones going with one that had the phase reversed so you might try this technique and one of your microphones you're not getting the right result flipped the phase which is represented by this little symbol here flip the phase suddenly it's full again so that tone to me sounds great for that for that chorus right there it's very full it doesn't have that that nasty fizz in it um so there you go that's I love that technique um depending on the mike and the ampule get different results let's talk about another duel miking technique um this one is the one that I used on the ghost inside but the amp thank you, keith but the amp is different. Uh camp is different. The cab is different so these results will be a little bit a little bit different now this is going to be for a heavier tone that one was for like a big rock um you know, chords open open type sound all right, so I'm gonna label these so you guys know this is the s that's him fifty seven you put that on too right? Very cool and then this is the d six now the d six has a really low frequency uh has a really low an emphasis on the low end in the frequency response so here now this one is a really fat microphone and, uh we can't get it right next to that as close as I would want to so I would maybe throw it over on a different speaker way so we can get it just right so I'm gonna grab my flashlight to make sure I'm putting it in the ideal spot which this one is picking up more of the low end so what I want to do is get a little a little further away from the cone center of the speaker than the fifty seven because I want to pick up that nasty low in that it's gonna be coming out of this thing so way got that one perfect tighten up tighten all your stands so things aren't moving around there we go so I'm gonna play through this with headphones on so I can hear what these microphones sound like in combination in real time, which is very important um so we have the d six and I was as I was listening to it in real time I noticed the fizz on the high end because the attics d six has a uh first response that goes all the way to the high end also I was able to bring it back and with the phase cancellation face cancellation uh technique that I showed you with the other fifty seven I was able to eliminate some of that so here's this the d six by itself ah it's pretty low frequency wise and this is the fifty seven which is just like mid range so let's hear him together now this right now I wouldn't use this for the exact tone but I'm just demonstrating the method so what that miking techniques did was it brought in that low end if I wanted to um I could excuse the high end out of the d six just that nasty bass low and toe add to the fifty seven if I already liked the way the fifty seven sounded to begin with, for instance so that's really it and uh those were some very, very valuable techniques into getting clarity and that disgusting low end that we all love that comes out of really cabinets of names, so just before we wrap up again like like he said for everybody at home, you know, in the real world, of course he would spend a lot more time like tweaking these and getting it perfect. But you know, these kind of techniques that andrew uses teo, you know, experiment with different mikes and work for the different tones you might get out of them before we go to break one quick question from crow's nest audio and I know that you guys had a lot of other questions which are really good and we're going to save for later in the day but I wanted to touch on this one. Quick. Is there a reason you prefer the onyx d six rather than other kick mike's, such as the kg d one twelve or sure, beta fifty two. Absolutely. Their frequency responses are vastly different. The d six I have never used a kick drum like that has such an extreme character to it in the capped with capturing the low end. Some of those other ones have, ah, weird, weird, in my opinion, um, roll off at the high end. It's, like it's, almost like the signal, just starts in mid range and then goes down, and it doesn't even get the really low frequencies. So, yeah, so, um, the d six is totally different than those other mikes, and I wouldn't recommend using those for the sec, nick at all.
Class Materials
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Ratings and Reviews
a Creativelive Student
Berklee College of Music Graduate here '03. I came across a snippet of this course on youtube and the tip about HP the DI to get low end was enough for me to decide to buy the course. One of the things I found so great about this course is how well creativeLive has put this together. From the high def multi-camera shoot, to the screen capture, to the included downloadable slides and Wade's Mesa cabinet IR, the production is very well put together. Kudos to creativeLive, you are doing the right thing. I was very impressed how articulate Andrew Wade was, not to mention that he was willing to share his production techniques. He really thought this through and takes you from very basic steps for preparation prior to tracking, to editing, all the way through to mixing. Additionally, Wade does this all without ego. What a like-able guy! I'd recommend this course to any aspiring engineer/DIY band member, especially if you are going after super tight, highly-polished guitar tracks we see in today's modern productions. The course is a look inside the mind of a talented and caring audio engineer and his philosophy/full-disclosure-techniques for recording guitar. Awesome. Think of it this way...if you have $99 play money and you're thinking of buying a plug-in over this course, please reconsider. The techniques you learn in this course will last you a lifetime and will improve your sound dramatically. Looking forward to more audio production related content in the future!
Chris Dimich
This class was extremely helpful! I learned soooo much. Andrew is a pro and it is absolutely worth the money. Specifically the tuning section of the class. Did not think to put this much effort into tuning, but it makes perfect sense! You can have the tightest band, with the best musicians, the most expensive gear, with amazing tones, but if they are even slightly out of tune its literally a bottleneck for the whole sound of the song. Thanks Andrew!
a Creativelive Student
Awesome, I am a big fan of A Day to Remember and aways wanted to know how their songs were made. Now I know some nice techniques by their own producer. I thing this workshop is not only for producers but for every person who play on a band. Now CreativeLive should call Rick Rubin to do the same.
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