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Studio Pass with Tommy Rogers and Jamie King

Lesson 19 of 32

Guitar and Bass Editing

Tommy Rogers, Jamie King

Studio Pass with Tommy Rogers and Jamie King

Tommy Rogers, Jamie King

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Lesson Info

19. Guitar and Bass Editing

Lesson Info

Guitar and Bass Editing

Well, first start off with a little bit of guitar bass quanta izing if you guys were watching yesterday you guys all know that we uh we kwan ties the drums for tommy saw and then we actually went through in tracked the the guitars first and then we did the base last I think we got some really solid takes with the guitars in the base but like I said yesterday it's pretty become an industry standard process to make sure everything's on time and you know, um so actually, you know, I could tell me played really tightly so it's going to be kind of hard tio to really demonstrate so might actually have to make some guitars and base a little off just to kind of for the demonstration purposes or whatever but basically like said I mean, the whole idea of quantum rising again is just putting everything in time so basically what I want to do is put the base in the guitar in time with the drums just so everything sounds nice and tight now obviously if the if the bassist in the guitar player played ...

nice and tight you know, I don't feel like you should need to do a lot of kwan ties ng so usually ah, you know, usually I try to you know, I can tell the musician or the client has a good sense of natural time and rhythm you know, I try to get good, solid takes naturally. And so, you know, obviously for minimal production work, minimal quanta izing would be needed in that case. But, you know, there's there's times when you get a great take its clean everything's there is just the part maybe behind the beat a little bit or headed to beat a little bit, and I'll let that slide when I'm tracking. Like I said, I want to keep the energy positive recording on to keep the momentum up. I want to keep the obviously the, you know, the the time and costs to a minimum for the client. So usually this you know, something? I always want to double check the timing anyway. So if I know it's going to be quicker to teo edit the guitar bass part that it would be to actually retract it, then I'm just keep the take that's good and just decide tio fix it in this process. Um, but I usually do. Ah, the bass and guitar editing um, at the same time and there's a few reasons for that there's. Not particularly with this song, but with a, you know, a lot of metal songs and even some rock songs there's a start stop e type guitar parts were just like god not not not you know like rhythm parts and you want the guitars and a bass to be tight together and it's just more efficient to just to grab and edit them at the same time? Um ah, but ok usually like said obviously as you guys at home can probably see I've tracked direct signals for that you know all the base all the guitar and if you zoom in and look you can see the rhythm pattern pretty pretty clearly on the direct signal this is a name you know called based director's what I named it and it's one one thing I want to talk about just real quick or whatever it is that I feel like it's important tio to clearly label your tracks so you can remember what you know what things are or whatever and also in case someone else is working on the project gets the project for endit mix make sure things that clearly label clearly in generically labeled you know so it's not confusing like, you know, if I put tommy amp you know the guy if somebody else ends up mixing the record or something like that he's going to be like, I don't know who tommy is, you have to listen and check it out so I just wanted to throw that out there things like I get all the time like for twenty one right? And I'm like I don't know what the four twenty one was on because I wasn't there you know so that you know usually I name were very generically ah like said this is ah you know based direct bass amp guitar rhythm direct left guitar rhythm direct ripe guitar rhythm and lift like said you can be organized how everyone I mean many people actually you know group left together I just for editing purpose I do it like this so I can see my direct the direct signals have the um have the you know, more clear rhythmically so I can see them together so we have everything labeled an organized clearly and it just helps you know you're yourself you know as you're going through this for a visual uh like said I want a group everything like said I've already actually group this but I'll on undo that group but let's make let's make a on any group on pro tools it's ah command g or you can go into the group's menu here and I'm just called this base simple and what that does it just connect it just makes when you're doing the editing it connects the two same thing with the guitars I want to make going to group and it think I want to keep in phase the direct signals with the am signal some good a group guitar rhythm one just call that guitar one lift and of course this will be star wars right? And I'm gonna I'm going to do all these and I won't label these all for now just for speed sake but and remember yesterday if you were listening in um these air actually mono and I was after I kwon ties all in the mix section I'll show you why actually track it like as it's stereo but some going since this is actually a mano tracked this is I'm old group all three of these together just for kwan tai zing purposes I think I have everything that group together all right? Obviously the first thing in this song is the base so I'm going to start off with base and what I want to do except I want the base to be in time with the drums in the click track and luckily like said the drums have been quantifies let's pretend that we check the drums and make sure they're perfect they're probably not because I actually didn't check him yesterday but they were going to be close close enough for the rock style vibe that we want but I'm going to drag the kick in the snow because that helps with subdivisions you know, so I don't have to grab a calculator I know you can use tools such as beat detective and you know there's other tools that you can use to help kwan ties but like I said, I want to preserve the natural organic bob so I just kind of do it manually I just move the things that I feel need to be moved one thing that's worth noticed, you know, noting tommy played the bass up you know, with a pick and played the guitar is a little more easily to see a little more easy to see on the guitar uh there's you know, you look at the each note and you would think that this is the beginning of the note but actually this is the beginning of the note this is a little pick noise, the percussive of the pick and you know, it's actually quite quite large it's eighteen milliseconds but thea there's like one millisecond however you look at that but the but that needs you need to preserve that I usually kwan ties to the note to me it sounds more natural when the actual note hits there in the actual the pick in or the strum in actually happens before the click or the drum. Like naturally, it seems like, you know, I've noticed when even I play I tend to strum into the note it's like ok it's like a rake into the new clique of so that the actual that held the actual notice the data transmitted via is actually the last bit of it, so uh so I usually preserve this the pick noise like on the base it's a little more difficult to see l z large to seeking see cooler but here's the pick noise so tommy course played it too perfect to a really demonstrate ah but like I said little literally I just go through and visually make sure it matches the click and the drums I usually set my nerves will set up a center nudge tio five milliseconds that's what you called it so yeah I mean that's pretty much on time I just nudged it left this one here's the pick noise maybe this doesn't make any sense so people can ask questions yeah visual yeah that's that's one thing with me it's like I've done this so much I can look at the way even tell what it sounds like now if you don't know where the attack is uh you want tio to actually listen to it you know t make sure there's a scrub tool with pro tools you can hold down control and dragged across you can hear where it starts yeah it sounds off and always freaks declines up nearly all that's also let's do that uh but in a way like I said, I'm preserving that attack whatever and the idea and I'm not going to do all this because you know it takes a while obviously to go through in the quantities note by note manually and like said luckily tommy tommy was close enough a lot of times I would just you know, kind of look at it and see if it looks in the ballpark and listen to it it just quantifies things that sound off okay that's falls behind there's something's officer this song is very straightforward if something's more technical on guitar guitar or based you still try to do note by noted you still do like if it sounds off it sounds off yeah I mean, it depends like said there's obviously that would take forever if you get a medal clients do really or take you sise they want a mechanical vibe than I would, you know often go note by note really depending dependent, you know, depending on the performance of the performances is on then I just leave it alone but using that stuff you want a little tighter than say you would want a rock project you know, if you there's ah you know a theory if you make it too tight it's going to sound actually thinner and smaller there's actually a little bit of the you know, the push and pull actually making his own the note fatter and bigger and you know the overall mix in tones bigger especially if you've got two guitars if you put it exactly on time you could actually create some phase cancellation the waves match up exactly so you don't want it too tight and if you notice here I mean I usually when I quantifies I keep it zoomed out don't zoom and crazy and like this, you know, just like with the drums I'll leave it a little out so that you know has a millisecond pusher pool here and there again like I said, I'm wanting this to be lined up there's no stuff visual subdivision but as we were talking about yesterday, this is five hundred so if you need something to line it up you can actually like I just make it like a little cut I'm not working on grid mode if you're working grid mode you can actually create ah grid that will show you the subdivisions you can use that to line up basically all you need is just something to make sure the the no lines that likes that this is perfect that's perfect let's find something we can I'm going to copy this subdivision so this is two hundred fifty milliseconds I see this notes maybe a slight bit ahead. It looks like I'm gonna move it here is that all you're doing is putting this on time and I said tommy's to on time to demonstrate let's pretend tommy was often that I'm actually moving this too and there's other creative life classes that go into this and in much greater detail and I'm going to go to today you know, there's, a couple different techniques, people using be detective and things like that as a tool to save time. So, jamie, when you're doing this, you do generally reference after you do a whole like section, you were on a sexual basis and then you get it visually, you know what it sounds like because you, visually, though, you tell what is going to sound like sort of and then you play it back after that or not? Yeah, exactly. There's a reason? Like said, obviously for this game, I'll play with soloed base if you listen to it now, you hear that glitch? Yeah. That's the way that we're going to need to deal with that before you can actually get it idea. Ok. It's time let's, let's pretend that I completed the base. Like said normally I would go through the entire song and do that. And, um, while I do the base or whatever, like, say once I get to this section with rhythm guitar exit comes in, I would do the base and the guitar at the same time let me hide these tracks, its auxiliary inputs. The guitar is gonna be a little more visual, uh, but, you know, once I get to this section, I would do that you know the guitars they usually do the rhythms they usually wait and do the leads of last in separate justcause they usually don't match exactly what the base usually rhythm guitars and base or playing in luck normal my groups or no armor disengage same thing here like said here's the pick attack I want actual note to be here and it's all personal preference type stuff you know some people actually quantifies it to where the pig attack is actually at one time because you can actually if it's easier for you to do that that's fine because you can actually just always just nudge it back later you know it's not a big deal we're just talking in order of milliseconds here for those of you watching under this is extremely boring but we'll get to some and tommy you can't saying perfect cause I have to teach vocal tuning and the few seem perfect it's not gonna be good I don't think I've ever seen but you've done vocals where I didn't have to tune it before and that's ah it's not going handy uh yeah if you follow what I'm doing like said I'm just putting stuff on time just like that and if as you notice I mean you could tell this is kind of time consuming thanks I have my brother kevin king is my assistant and I make him do all the stuff you pay him you know yeah he's like better and faster this than I am now just because it's always done for in the last two years but he's got it he's done it like like said obviously you know it you know if you do the base at the same time you can use the cut points of the guitars toe to see where you need to be with base like I said it's a very important to keep thea to keep the guitars I mean, to keep the direct signals in phase with the rial antone's or really up simulations you know, because obviously like, you know, they look a little different like you can't really if you wanted to if you didn't track did rex I mean he's looked at the amps signal looks like you can't tell with the rhythm is you know, it's just it's almost impossible you would really serious sincerely have to rely on your years which is you know is doable uh would you get there's a level of precision you can get if you track the directs? You know? And obviously if you if you track with the plug in the computer, obviously you're not going to see this amp signal at all uh, so you can quantifies, but you still need to preserve the pick attack don't cut that off because it'll make the guitar sound a natural okay, let's pretend that I've gone through and we've kwan ties all this material like I said and they were gonna have a you know, thousands of little chops like this we're going to go back through and I don't even know if we actually have my favorite time stretch compressed compression plug it which would be we do not have it on here but on this machine but up we'll just use this one for now what is your I like serato pitching time on guitar there's no there's lots of different time compression expansion plug ins out on the market different ones that have for different I think are better. The algorithms are better for different things like sit for the guitar like cerrado pitch in time for baseball like serato pitch in time for I feel like it sounds the most natural for vocals. I like the standard the one I just selected the the did you design? Uh uh you see what it's called that shift and I think it's just called pitch shift or not pay ship at the time she after time see, you really have one called time shift, but basically it's just the one that comes stock with approach will sounds it sounds better on both calls for some reason I don't know why there's ah, did you designer abbott now makes one called the ex former sounds great on everything that's the best sounding one on the market that I've used but the brender time it takes forever to processes so I use it in times where the like none the other quicker plug ins work uh the quicker time strange compression software works I use it then obviously like you know I mentioned about using elastic time you can use elastic time for this function as well but like said again elastic time it uses this standard you can't use likes arado pitch in time so you can hear the artifacts like that I'm going to use the standard right now just for demonstration purposes we'll grab this time compression expansion tool now um just for demonstration purposes but if we listen to this we'll be able to hear that it sounds weird just because the algorithm that comes stock with pro tools just doesn't sound great on distorted guitar or just you know are based in my opinion ah but like said uh we don't have to stretch this much what are some might say well fine in the mix someone go through these these notes if you noticed I'm cutting in preserving the attack of the note and this kind of forms how we hear the note and I'm just stretching the body of the new let's pretend I've done all the base let's look at the guitars straight preserving the attack I'm going to stretch the sustaining the note grab these days part of reason I do I just wait till all the tracking is doing to do this is because you don't want to I mean I know some producers they they do all the stuff as they go along and there's there's some you know, valid reasons for doing that but then the client has to sit there and watch you do this and they're like they get like board and you know they're like tearing up your studio, you know, whatever you know they're just like us they get cold in between tracking you know, I think when there's constantly progress, it motivates the artist yeah, like I said, I try to keep the, you know, cost down from my clients personally in the you know, a lot of my clients travel from out of state, even out of country, you know, sometimes and, you know, so basically I want to keep when we're tracking that's all we're doing so they can get their hotel rooms or wherever to stay, and I don't actually have a place for people to stay at my place, but you know, when they get hotel room, that minimal hotel stays, you know, maximum time actually working in the studio and they're not just sitting there watching me edit for half a day or whatever, so, um you know, like food with mike's it maybe first you might want to do the editing first just to make sure it's good before you let the client's leave for good you know, um but I'm you know, I've had I've gotten personal experience, which I know like ok, this is going to be you that I'm going to be able to work with this and I'm not going to need anybody to retract anything, so that might be a consideration tio or something to consider. So do you have to work stations then at your studio where your brother could be editing stuff while you're while you keep working? How do you? He works at his place, okay? He's got us set up and you know, I've got he literally only lives ten minutes for me, so like, I've got hard rock a couple hard drives that we just you know, who come pick him up where I sometimes if it's a small project, I'll just upload it for him to download and he'll just send me the files back. So so he's working a lot times like you know he'll start editing if when we got the rhythm tracks we study tracked leaves, I'll just go ahead and give him the rhythm tracks they could be working on that while we work on the uh while we work on track in the leaves at my place so it didn't it definitely makes it more efficient a lot of studios they have multiple engineers, the guy's an audio hammer there's multiple people working on different things at the same time to be, you know, max efficient or whatever cool but that's kind of why I brought him in the fold and there's you know, options for people you know, something I wanted to mention, you know, those of you, you know they have holes studios were watching stuff if there's something you don't know how to do or you don't want to do just outsource you don't have to do everything you know I can do everything and I still like said I'd still don't just to make things more efficient and pushed like, you know, I don't you know if I I know I'm gonna have to mix the record I don't want to spend time, you know, bogged down and actually doing all the you know, the time consumption, production it because by the time I come to do the mix on my years or tired, I've heard it makes badly for so long it's it's tough for me to ah to hear the mix objectively after that just kind of burn out with the project, you know? And I think, you know, having bringing other people in the forward alice sourcing there's tons of I'm sure those of you listening in washington there's tons of you guys who dio uh you offer these services vocal tuning uh working with evan from last chance to reason for vocal tenure right now there's a couple other guys that you know out source material tio work too and that's always a good option like said a lot of people they don't have you know magnificent studio like this to record drum so it's like just you know, instead of buying one hundred two hundred thousand dollars a gear that you need to do drums properly you know or that you middle of fifteen thousand my mind uh you can just there's people who have this stuff already just tracked the drums with them you know? And you know, until you khun you know, do you have the business you know, to validate buying the gear yourself? Um just don't worry about it, you know, outsource the stuff you know, like especially with mastering I think it's essential, you know, I got in the master kind of out of necessity ah, just a lot of my clients were just not getting that records mastered or uh you could afford to get the records master so I started off in the service we're masters were getting done and they just weren't truly mastered my opinion um but I usually are recommended so always a good idea to get another professionals here on the mix you know, in the final product or whatever and, you know, there's mastering specific gear mastic specific compressors accused processing knowledge you know, just experience in and of itself really helps with the mastery and, uh, you know, a lot of times it's a good idea to outsource for that, you know, at the end of the product but we'll get back into that but like, this is definitely something that could be outsourced like, hey, I don't I'm not good at qantas izing or you know, I'm not fast from efficient with it or I don't like to do it just find someone who does and, you know, oftentimes they will do it for a reasonable price uh, well, let's pretend that I've gone through and I've kwan ties I put all the bass notes in time and I put all the guitar notes and time and then after that I mean, we're gonna want tio just cross fade, I'm gonna do a batch food I'm gonna dio just say mr five milliseconds and see what that someone was playing a little brief moment sales cleaned and they obviously normally I would check uh in headphones and I would listen isolated just to make sure everything and I could hear that weird stretched plug in, but with a cerrado pitch in time, you can't hear that or whatever uh when alternate versions are method I don't usually use for kwan ties in the filling in those gaps some people actually use be to take this feeling cross fade it works really good with drums ka is sometimes can work with um with small gaps in basing guitar audio uh but it's not guaranteed there'll be possible definitely have to check it using that uh with that you know like for instance say there was ah like this one we stretched let's put this back well see we can use this ah it's smooth and it technically filled in the gap but the way this works it's ah you know it's a kind of a copy and paste algorithm so that pulled you can look at it you see this particular moment it just basically copied and pasted this so that can sound weird maine right not if it's like a small thing when it can sound we're on the drums it works because it's just white noise that is copying pacing so you don't notice it something with a tone the pitch in things like that it just kind of so I find you know with the guitar and bass I find the uh the stretch method used it works a little better there's ox actually another method sometimes works also that I used to employ a lot it's just basically like you can just drag the region back and then cross fade the two regions but sometimes a special in clean guitar and clean base you can hear that the story guitar just sort of makes you can't so that's it that's definitely quicker than going through a stretch in the audio but you know obviously I mean the best best thing is just do not do a whole lot of stretching to begin with you know, like hopefully get some good solid takes whatever if you are stretching your stretching minimally but if you do have to stretch a lot than uh you know you know try to use the best sounding method you can um listen to each party individual just for those you watching these gaps we had ah digital sink problem with one of our preempts way just needed to restart and we didn't do that and that's why that's looks weird right there but luckily tom this these riffs repeat over and over so I could find a moment I could find whatever that support that's in direct signal yeah ok, yeah I said the am signal was finally the fbi's with the focus right had a digital connection um take issue that's why? Looks weird that's the that's easily fixed in this case because we have multiple takes in the same way if I could just pull that note from from other part but we're not going to worry about that right now since he can't even hear the direct signal anyway um but yeah, I think that's all of ah guitar kwan ties ing the said leads I would do the same thing you're my lead tracks have grouped um zooms where you can see that and again like say tommy's spot on um here's the attack we want tio light the timing should be here no it's actually a little earlier not anymore I apologize to you for those who need a home that if I'm frying your brain with any of this stuff whatever it's kind of one those things I've been doing it so long I can't remember like how held the thought process goes in does this seem confusing to you tell me no I actually don't know this stuff at all okay? So so you're you're you're get actually learning something yeah, a lot of people learning like oh, I don't I don't want to do that looks like work because I record for demo purposes only so I'm very lazy about it yeah it's played a oh yeah that's good enough yeah, I mean, of course that obviously if you're just doing demos you do you mean there's no reason to you know you have it perfectly on time and this is this is like full production label spec type you know you want it just as good as it can be type of ah you production and that's. One thing that, you know, I forgot to mention earlier usually when I you know, talk to my clients. You know, I tried to because this is this. This type of work affects that the budget, how much time is going to take? You know, if you want to record this, you want it fully produced. Are you looking to do a demo? You know, honestly, I feel like going into studio do a demo these days is ridiculous. Like, just buy some stuff, do a rough recording. Uh yourself. And don't you think a lot of this has to do with, uh, personal preference as far as the band or genre? Yeah. You know, he's obviously have a bands like, you know, we want toe jam live, and we want pics, grapes and feedback between whenever we stop, you know? Oh, yeah, it was a lot of killers like, yeah, I mean, even now, there's a lot of bands that do that. Yeah, I yeah, I wouldn't do this to, you know, you know, bank like the bank of the chariot back in the day, you know, there is supposed to sound, we're all you know, and, uh, you know, I mean there's tons of bands you know, obviously, like you're going for a black sabbath sound like we mentioned before, whatever it's like you know this this would make this would be weird in that context, you know something that's as a musician, that's something to think about before you go in and like, how spot on view on things do you want things to be some bands like overproduced? They don't they don't want to sound like the end in my opinion, but, you know, in other bands want to be very, very role, which is it's all personal preference you got it, you can draw analogies like said I mean, like, you know movies or you know, are you going to go for high produced siege iago? Well, are you going to go legit like james bond and really blow stuff up, you know, and like have, you know, have an organic feeling vibe to it there's preferences and there's times where, you know different things were appropriate, you know there's no right or wrong and I personally enjoy both I enjoy some stuff that's super produced I enjoy stuff that's really wrong. If it's good it's good to me, you know, and that's why actually, you know, I tried tried to learn both production styles you know and a lot of this stuff like sandy tommy was close enough and it sounds it sounds good he wanted the rock five one of the natural heads the band playing and a venue whatever type of type of survive and so you know, we would leave some stuff you know you know, timing wise or whatever that wasn't you know there's not one hundred percent on the click tracker on the drums whatever just all the sounds good you know and it's kind of approach would be to you baby you know it's kind of go through and you know, double check see if there's anything that's like crazy ahead or behind those guys or so on this just like we spent a lot of time to weigh really work hard and won a few bands you know what? You guys when a few bands that has the time usually books enough time and but you have the budget in time but to actually do it you know, a legit organic record right? It would have been the talent you know? Uh yeah, I mean it's literally like said just kwan ties and guitars and base it's just about it put it in on time and then there's you can quantifies the vocals also so we'll get into vocals like a I've recorded a lot of vocals you know is definitely less uh you know particular, you know, there's no like rhythms you can line up visually stuff it's definitely all feel and how you here because some constant sound should come earlier than to be some should you know, happen on the beat you know, just you know, if you're doing a tea or the you know, it's going it's going to sit on related to the drums and the clique is going to sit differently? Um, you know, so the quanta izing that's just a matter of sliding it around until it feels right? Like sometimes I get great tape like the vocalist is a little bit behind her head of the bea particularly happens of screams stuff with the screaming patterns toe a lot sounds with drummers doing like in a metal project where they're doing a blast beat or something it's really hard to feel the downbeat and the vocals and get a brutal sound and take and it's like but it starts to lag behind the beat towards the end or something like that where he came in late instead of having and you continue to blow his voice out, doing it over and over, you know, the most brutal take you can do, you know I just taken slide over into place, you know, it's just, you know, quantas is just a technical term for putting stuff in time so just do whatever you got to do to put it in time and have it sound right. You know something and try to do the mental, you know, as a producer and is an engineer, I tried it mentally think, hey, it's going to be quicker if I just quantifies this or is going to be quicker, better to just retract it sometimes answers like, dude, that is way off and you know, it just be quicker if we just retract this it's usually just make that call you did sort of knowing your head. Yeah, much time making this isat production decisions, you know? You know, you try to keep it positive don't wantto depressed people over, but I think that's the important thing about having an engineer with with it an outside here, having somebody else there is like, because I know, you know, the band myself, you'll be tracking and party has been nailed that you like not doing it, you know, cause that outside I hear you, you hear things that you can't hear on a person on processing stuff relative to the production, exactly the bands like, you know, they're they're like, hey, that was solid, take whatever. Well, you know it's sometimes it's a all the way around some of those bands like dude, I don't know about that I feel good about it might do listen to it it's actually really good you know, that squeak in the voice that you thought was a mistake actually it's cool yeah yeah things like that and you know, I'm listening to it and you know, I'm thinking in terms of you know, I just, you know, processing on you know, different aspects of the record and you know it's just it all it all ties into every element of production and stuff and you know what there's like so there's some some quick rules of thumb like said, just if it's not in time either retract until sometime or put it in time it's so the hallmarks of professional records you know from, you know from day one I mean it's usually more pleasant to listen to and it is you generally desirable that client and the labels is they have everything in tune in on time, you know, there was a time obviously during the alternative error what it was like kind of cool tohave still just kind of grungy, you know, and have it not perfect time not you know, but you know, for certain styles of music that still works today but you know large in part you know, people at this point you know they hear stuff it's you know, it's pitches the beach boys back in the day you know sounds fine to me but nowadays if you try to turn that into a label that we like you need to these vocals you know they sound like crazy, you know, like pitching or whatever you know and it's just one of those things you know, we just we're accustomed to stuff being a little more in tune and on time than you know, the way things used to be it's just you associate that with a higher fidelity or high five by you know? So the beach boys sound attitude oh yeah they're great um but yeah, I'd like that but you know, you listen the old records and you can like do e o you know it's just you know it didn't bother me or whatever but but our recording beach boys I probably like the mutinous I think those cd yeah, probably in personal preference they probably know, but well yeah I mean, I think that's all, um as far as the quantities like said there's, other creative live things that go into in depth with kwon ties in a different toe different methods to do that to see if there's anything else I want to discuss for his quanta izing oh yeah, there was one process that we skipped yesterday in terms there was we're going talk about reacting base in the guitar we've actually stripped you know we've changed the setups for vocals so I'm actually not going to discuss the revamping of basic guitar is not difficult and there's other creative live you know there's a lot of creative life courses that cover that in detail and basically just just a quick you know all you need is a reverse direct react box and you send this direct signal out of the computer out of the recorder refused tape whatever it is out of the recorder through the reverse direct talks back into an amp and you just play the already recorded of guitar again basically the new accord that new signal you redo with that theory and you could you could send it through an app you consented to an anti me later or ah modeler or profiler like the camper or the acts of fix and it just ah, you know, the times you would want to do that is if like, you know, friends to say hey, this is a really good tone but I'd like to thicken it up it needs a little more mid range let's run it with a marshal, you know, because mason marshall game structures little different bases got really fat game structure marshals kind of a tighter game structure more mid range in in character and like said maybe we'd reopened later those two obviously gotta watch out for phase problems you have to offset the uh uh the way forward for face problems but uh yeah I don't think about that if you run two that's one thing I like so if you run to I see the same exam saying they could cancel each other out since you didn't bring me to that just by offsetting and in the computer just a little bit you know, just listening to it for your desired u q and they make phase boxes which you can actually you know it's something that you have some reading boxes have little phaser things that you can actually see a couple different remedies for that but that kind of stuff it's it's very easy to react sometimes I would do revamping for like, you know frances say we recorded this and like you start later and things up like wait a minute that part has way too much gay and I can't even hear it in the mix no matter what I do in the mix it's just money let me recap it with a little rider tone a little less game or something like that or sometimes offices like man we didn't sound brule enough listen it's just make this crazier or sometimes you're like I don't like this tone at all this amps terrible I've gotten you know stuff from for mixing or whatever, and I was just like, man, I just this is not what I'm accustomed to working with. Luckily, they tracked the direct singles. Let me reopened. Uh, use what I'm accustomed to working with something. I feel like sounds good and, you know, there's. Ah, re happens, definitely a good thing to do.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

Class Materials

bonus material with purchase

Jamie King - Tommy Rogers - Gear List.pdf

Jamie King - Tracking Template.ptf

bonus material with enrollment

Tommy Rogers and Jamie King - Syllabus.pdf

Ratings and Reviews

Student Work

Related Classes


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.


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!