Drum Editing - Manual Quantization
Lesson 11 from: Studio Pass with Tommy Rogers and Jamie KingTommy Rogers, Jamie King
Drum Editing - Manual Quantization
Lesson 11 from: Studio Pass with Tommy Rogers and Jamie KingTommy Rogers, Jamie King
Lessons
Day 1
1Intro and Drum Head Selection
22:51 2Tuning a Floor Tom
24:55 3Tuning the Kick Drum
10:37 4Tuning the Snare Drum
08:51 5Drum Mic Selection and Placement
13:41 6Gain Staging and Preamp Selection for Drums
20:21 7Tracking Drums with EQ
14:02Tracking Drums
19:24 9Recording Drum Samples
24:18 10Why Quantize Drums?
10:47 11Drum Editing - Manual Quantization
09:17 12Drum Editing - Beat Detective
30:32 13Rhythm Guitar Amp Mic Placement
13:45 14Rhythm Guitar Tone and Gain Staging
19:19 15Recording Rhythm Guitars
17:39 16Recording Lead Guitar I
16:27 17Recording Lead Guitars II
31:36 18Bass Tracking
30:30 19Guitar and Bass Editing
41:43 20Vocal Prep
14:02 21Song Vocal Mic Selection and Tracking
27:17 22Scream Vocal Mic Selection and Recording
11:07 23Vocal Editing with VocAlign
21:33 24Vocal Tuning with AutoTune
31:46 25Segment 25 - Vocal Editing Questions
04:13 26Mixing Drums
24:38 27Bass and Guitar Mixing
18:07 28Panning and Balancing the Mix
12:32 29Mixing with EQ Processing
28:21 30Bass Compression and Effects in Mixing
13:32 31Songwriting and Pre-Production
30:55 32Building a Studio Business
18:09Day 2
Lesson Info
Drum Editing - Manual Quantization
I recommend learning to manually qantas as you see here I've done some groups and you know this is key for medal for sure but I've group the kick drums together to keep the phase uh you know alignment proper if you zoom way annual noticed like said that the transit for the inside kick happens a little earlier then the transit of that from the outside kick or whatever and that's ah you want to preserve that you know that's that's part of the distance as part of the space and have his minute is that is and we we actually perceived that same thing with you look at the drums like for instance like this snare hit you see this fall like you can really tale with a far room like what's crazy is the medium room here's the far room here's the actual snare hit here so that's something you till it preserved yeah I want to preserve I mean I've heard some people say, oh, you should line that up but that's part of this perceived space you line it up you're taking the space away even though that's onl...
y like you know, eight milliseconds of space you know it's you can you can you can honestly hear that so I like that I keep these group that stuff up top I keep group together and the kick drums I keep group together and up manual quantifies it is just that you just are manually moving each hit two it's appropriate place like said this is this this kick drum hears the click yeah it's a it's a little it's a little late actually the so basically I was just going to throw it on here we're doing time and I will just go through this is the may I mean it's a super simple I'm not going to spend a lot of time on this uh like my own curiosity do you thought on just right at the very beginning with that downbeat astride the clip does yeah, this is one that way kind of preserve kind of an organic sound is like like the zoom in way far getting crazy and zoom in and so on the sample, you know, and I'm literally just keeping it zoomed out and we'll put it, I want it in the ballpark I don't want it so tight it's this ridiculous listen, um you can't see this that will on the screen, but I know from what you played that there's a tom hit here if you zoom in, you see that little grab that oh it's a relative to the clinic or whatever we've got an eighth no here, obviously we don't like we have a click relatives say we're looking to click or whatever on the quarter note, and we have a nathan it relative to the clique, whatever like we're gonna have to do some math. Luckily, you're in one twenty in this makes the math easy. Uh, the quarter note is five hundred milliseconds or whatever, so the eighth note is going to be half of that, which is two hundred fifty milliseconds like if you get some crazy stuff, I grab a calculator figure probably seen me before to figure out the subdivision, but luckily we don't have to grab a calculator. We we know this to fifty, so we'll set my nudge up here. And for those of you watching, I'm not sure if you're familiar with nudge and pro tools, but all this is you can set this and you can use the plus and minus keys to the right of the keyboard to a nudge your cursor left and right by whatever you set this to some said it's two hundred fifty milliseconds I'm tapping to transit. I'm hoping the zero home are accustomed to that with pro tools are familiar with that there's a feature on pro tools is this button here it's ah it's called tab to transit and it tabs to whatever the transit isn't, you know, if you don't know what transit is it's the attack of oven audio that's where you see it, spike exactly yeah, yeah I mean it's it is what it sounds like it is um but you just think of it is tabbed tad to attack so on what's happened this or that and also folks is tapped at the beginning of the region so but this attack of the kick drum on tap to it and then I'm on nudge it by my two hundred fifty million seconds and that's that's what? This is where I want to pace that in second tom hit so then in essence that's perfectly kwan ties I mean, this is too like this and then tommy was pre much on it anyway, so this is not a good representation. I mean, I'm not a good visual of it, but there will be some more hits that will be more obvious here is I go alone now, obviously you don't have to use tab you don't have to use to have a transit, you don't have to use the note you can grab this I mean, you could like, zoom and be like, ok, let me place the mouse here and let me, you know, scroll over to two hundred fifty and in pace this time consuming the tab, the transits, the tool that saves time, the nudge tools saves time and uh I've gotten to the point where I couldn't kind of shred through this stuff, so I'm not gonna bore you guys with the I love washington therapeutic my wife says she likes the with clacking of the keyboard sounds, which is strange to me that she's not the only person who said this, but it is this right now like I said, I'm putting stuff on time and I know I'm moving fast, but I just want to get through to some other stuff and get to be detective be to take I mean, this is you know, you could get faster this obviously I've gotten a little bit on the fast side, but you can like that would be detective you can you can speed things up exponentially because you can quantify is more than one hit at a time, okay, so I'm just, you know, a qantas he's cut this bar, whatever of audio, which I actually just messed up one, but I'll fix that and one thing I don't recommend what I'm doing right now I'm just doing it visually and I've talked tell me about this. You know, I've got to the point where I can look at the screen and tell what it sounds like at first you don't want to do that, you want to listen to everything you wanna reference, everything you're doing and another thing before you start this kind of deep, potentially destructive editing, you want to always save a copy. You know, I don't know how familiar good you guys are would play list. This goes for drums, guitars, vocals, anytime of heavy editing like so you can create a new play list it's un edited. All you got to do is, like said, I'm slightly options shift to teo choose all the files, all the tracks or whatever, but you can just create new and just pays toe on it, you know, and keep an unedited version in your approach will station so you could if you miss something up, you could just revert without cause. I think pro tools allows, like, sixteen undoes I don't know if they've increased that with the new approach was versions, but you've been under your like up to sixteen times, but there's another way of doing it that I have always done because I just I didn't know about this playlist thing when I first started, but I used you like said the records can only be up to eighty minutes long, so I just throw the unedited version out here let's just pretend like this is before I started entity, I'm just going to throw this whole unedited version. Don't do all my end it's here but like said this pretend like that's the whole unedited version that's one thing I highly recommend for any it and especially early on like what you get, what you're confident in your production, you know, your production editing ability than even kind of you know you're not going to mess it up beyond repair, so let's deal is still a good idea to do that. Uh, well I said so I've gone over manual editing and basically said it's just about putting on time obviously like if you have a let's go toe something with the fat like another subdivision here like here's a sixteenth to the clique or whatever um obviously we can do our math easy five hundred or for ninety nine in this case it looks like but but it's basically five hundred so to fifty is going to be the eighth, the sixteenth no it's going to be half of that when you're four four time it's really easy so you know you're looking at what has happened to fifty it so once every five years and I want my blame, my brain just what point but like I said, so that's our that's what this one twenty five and that's what the that's what this should be, it should be said at one twenty five I said, it is very close. You know, we're talking like a few milliseconds, uh, like said, you could sit your nudges for sixteen and pace if you got a triple it to the clique or whatever, like, you know, if you're in six, if you're doing something in six, eight or whatever, that's. Another thing I recommend for engineers and producers, I mean, learned some rhythm theories, like basic working knowledge of rhythm theory and melodic theory. Definitely, it comes into play, and you're going to need to know to understand how to use pro tools, stuff like that. I think you know, the ultimate it's. You know, you can use your ear and figure it out or whatever, but I think if you know just a little basic working knowledge of theory, it's, it's definitely help you.
Class Materials
bonus material with purchase
bonus material with enrollment
Ratings and Reviews
Zachary Towne
Thanks for two outstanding sessions. Tommy, Jamie and the Creative Live folks really did a great job elucidating the studio recording process for producing honest, listenable, and powerful rock and metal recordings. I particularly appreciated the individual treatment of each instrument as well as how they all integrate into the mix. I found Jamie's methods to be straightforward and effective and I'm really looking forward to applying that to my own production.
a Creativelive Student
Another well done class from Creativelive. A glimpse into the daily life of a pro musician and pro engineer. Some great advice, tips and tricks that anyone can use to make better music. Was hoping they would get more into the business side of things, they did briefly discuss it towards the end, however a more detailed, longer discussion on the topic would have been good. You do learn some cool ways to record and mix. Some of these are obvious, some not so much. I am sure that for most people you will get something of value from this class.
user-461998
This was an awesome 1st half of the course! Jamie touched on so many things that I've always had questions about in the production environment. I can't wait for the second day! This course is a MUST HAVE!! I will be purchasing it soon!! Many thanks for the Livestream!
Student Work
Related Classes
Recording Drums