Scream Vocal Mic Selection and Recording
Lesson 22 from: Studio Pass with Tommy Rogers and Jamie KingTommy Rogers, Jamie King
Scream Vocal Mic Selection and Recording
Lesson 22 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
Scream Vocal Mic Selection and Recording
You want to do the course later yeah I think you want to jam on it real quicker wait awesome pulled yeah that one takes a minute to get warmed up let's try that warmer thomas and this and this is a perfect example of if I did this on my own I'd be like that that's a dumb assign voice yeah, you know but like when you you just kind of learn what works and doesn't with your voice and and you really it takes a lot of used to what your voice sounds like organically yeah that's part of the likes that what I'm doing on my end kind of mixes I go kind of putting some things in the level in the ballpark of where it needs to be so we can you know so we can hear okay this is probably I was going to be in the mix does it work or not in the mix you know? Because if he had it too loud and be like that doesn't work or whatever I said you know they think it's important for the engineer to kind of get stuff on the barber if he knows I'm running up on the vocal bus I'll show you real quick I'm running th...
e uh I'm running uh you're some basic e q on tommy here this is where I usually start with actually normally I start with that but it's just cutting the lows I'm running a dsr on his track whatever keeps the you know so that way we know like we've got good clear pronunciations and I'm just running a little bit of herb just so that it you know sounds like he's performing in a big haul some vocalist delay and you know whatever you know fix that they prefer just to get that inspiration to fill you know like it sounds good to them you know like the whole so people like to sing in the bath through my bathtub whatever just goes to reverb you know and just whatever makes him feel good you don't want always just run it dry but you go ahead tommy listen this hit that one more time that would sound way more controlled and that little squeak in the second one sometimes things like that it's cool you drag a cool character obviously that was not on purpose but absolutely but cool do we have any other layers you want to scream over that just to have it yeah do you want me to double that or no uh let's go and double down because this I want to be a guy like this of course we wanted a big kind of multi vocal if it so we actually in the you know when the actual record this we stacked it up like six times I'm sure we did a simple like no long leaves this you know like a super low active just to feel that that space you let's go and do that also ok no one needs to know one wait awesome and this do that think about it about it yeah let's just it just for fun because I think this is a perfect example of something I just heard my head and we're like just track it and see if it's cool and it works really well yeah I put it like a distortion effect on there it was kind of gives it a kind of cool rhythmic thing it's kind of catchy I say let me copy a track here's to make space do you want me to double that the louder one first that's fine I think we're good with what we got just for just to get the time purposes yet yeah awesome but it's just a little accident that makes it catch you to me and you can layer that up to make it everyone I think uh do you want to do a screen thing or acquit yeah do you want me to plug in yeah let's just switch out the mike let me put mute this might uh yeah well let me meet it so we're gonna just cool yeah this is this a different mike it has lower output so we're gonna have to increase the game but tommy got any single there let me readjust the game I just do a normal talk talk level vocal so we just moved over to the s m seven b yeah so this same for tommy's screaming is more harsh vocals a lot of times like the essence of beef hey hey hey cool what you turn up right there just for personal I just basically I boosted it twenty d b on this this the broad gain boost that boosted a little bit basically said I don't want to be a little bit of compression when you're when you're at it like a regular level hit it real quick hard to say jack yes hey gets loud you see a lot of compression there's a lot of compression mystifies a lot of people and it's just like said it's just a an invisible do just turning down the volume knob you know the volume slider when you sing loud you know that's what that's what you're setting the box to do you can also use the attack and release settings to two shaped transits yeah but I'm not doing that in this case I just want the train attack really fast so it compresses everything possible but you're more copies and tracks over for you tommy and then uh we're just to make a room I need a little more volume I'm telling you yeah yeah all the you want to scream along with the course is a layer cool you just let me know about volumes this will be a warm up wait wait was that that final level little better yeah let's roll it one more time okay screens you want another one of things I kind of need to be warmed up usually yeah it only takes a little tommy normally like said hell like said he doesn't warm up we're singing and then you know more mode for the screens let him scream over some stuff to kind of get broken in but obviously we don't have time to do that between the parts of wait awesome feel good about that yeah it's a brutal like that always check the creative to make sure we're not clipping out stuff of that nature so you were watching it while he's yeah you got to make sure that it was at first but once you get it said usually you know you're pretty comfortable whatever but I just since we had didn't have a chance to sit in a prior I just wanted to make sure was clipping the bus was clipping cause I just sent extra signal to him for references but that honestly why your track and doesn't matter I think that's all the vocals right yeah do you want me to do a lower one that show how you can beef it up a little bit yeah let's do that wait awesome that you feel but this is kind of what we do I mean we just kind of experiment with layers if you have time to do that I mean, only double this, yeah, yeah, well, just for, you know, so we'll have it. But, yeah, I mean that's pretty easy. Yeah, yeah, yeah, I think you're good.
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