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Toontrack presents: Studio Pass

Lesson 9 of 26

Rhythm Guitar Tones

Ulrich Wild, Brendon Small

Toontrack presents: Studio Pass

Ulrich Wild, Brendon Small

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Lesson Info

9. Rhythm Guitar Tones


  Class Trailer
Now Playing
1 Class Introduction Duration:06:20
4 Songwriting Q&A Duration:26:32
5 Tracking and Comping Drums Duration:27:24
6 Editing Drums Duration:16:25
7 Drums Q&A Duration:31:15
8 Micing an Amplifier Duration:25:09
9 Rhythm Guitar Tones Duration:18:52
10 Tracking Rhythm Guitars Duration:34:13
11 Tracking Bass Guitar Duration:23:34
12 Bass Q&A Duration:21:45
13 General Q&A Duration:16:30
  Class Trailer
Now Playing
1 Tracking Vocals Duration:18:27
3 Vocal Mixing on Galaktikon Duration:24:37
4 Vocals Q&A Duration:17:50
5 Mix Prep Duration:34:45
6 Mixing in Logic Pro Duration:42:03
7 Mixing Blazing Star Part I Duration:27:14
10 Mixing Blazing Star Part 2 Duration:19:34
11 Mixing Blazing Star with EQ Duration:30:09
12 Final Q&A Duration:24:12
13 Closing Thoughts Duration:11:22

Lesson Info

Rhythm Guitar Tones

Already everybody in this room this is a this is allowed it has allowed amplifier but then again is this is this is rock means this rock and roll okay, so I'm gonna turn I'll put this in my ear every plugged in and we're not even plugged in and I believe I you send me a thank you teo so here we go do you have um you should open your your session for earlier segment one okay, so, um right here they're here all right when he did we do anything here babies were up. This is really loud first of all what you don't you can't force to be really loud. Yeah. All right, so we'll start with you getting somewhere okay, let me keep going. Yeah, please is what it's like I keep playing, but usually I'm one room away so it's not this labs on that is self conscious about how what? All right, so what we have here, um quickly set up on dialed in just like mike's on that's all we have going on right now I can't even tell what that sounds like right now because I'm totally overpower thugs and the there's t...

wo ways of doing this one of them is go straight back into plug in world because your your neighbors will thank you yeah, the other way is to have it set up in in another room where you can actually you know, tell what's going on that's why having control room in the tracking? However, if you are in a situation where you do have, um tolerant neighbors or no neighbors but you don't have a tracking room, the way to do this is to just play record some of it's if you like it play, but unlike playbacks, if you like it and if you have changes to make make changes and record again so you feel like it record against if you like it. So that's what we're going to do here, it's obviously quicker if you can just straight and dial it in without having that much noise next to you. So let's, just record a little bit of just a fifty seven by itself. Okay, that sounds like so I'm selling this and recording it. Yes. Oh, wait, there we go. All right, when I did just now was record a little bit of fifty seven than a little bit of the four twenty one and then I turned both of them on together. Let's see what it sounds like? Ok, here goes, we heard was the fifty seven by itself and then I want to dip down and came within a new sound those switching over to the four twenty one and then when it got louder that was both of them combined were kind of lucky because that's pretty much sounds like of what a plexi should sound complexity means a sound like it sounds a les paul in a row marshall and that's what that that sounds like you could record in a cdc album with that sound a little less game but well that's and that's that's your simple miking tech which kind of goes that is a simple like in technique, but sometimes if you do have the right equipment, it sounds right in absolutely I mean, you will not make this sound like it makes a bookie right that leaves, but he will never sound like that unless they're rewiring them to sound like that but it's a good guitar in a good amp this is something that I tell guitar people all the time it gets yourself a decent guitar get yourself a decent amp and everything else is your fault it's your fat, stupid fingers, which is what I realized every day when I can't play something and I'm recording, but you get a decent happen indecent guitar and there's no, you've got no excuse because that's the game that's the natural saturated tubes from a crank tamp it doesn't have a distortion channel or anything that's what that amp it's supposed to sound like at that super super loud volume yeah so it does and so it does yeah, it was like the idea is to to have something that sounds a certain way in the room and capture it and record it that way yes a long time along with that comes the idea of manipulating the sound into something that is different also to make it more unique right where you know that's where petals come in and accuse and that's where the cq down here comes in this this's my favorite little box to do guitars with you can see this thing is the focus right um I say uh one fifteen and it's basically a stereo unit especially just a parametric thank you but with this you khun you can shape the sound because usually when you record something uh especially guitars they there's usually kind of like a muddy frequency somewhere that gets in the way and it doesn't sound quite as nice and open and very often especially with metal there's ah very annoying scratching this somewhere in the sound that you just can't dial it down a little bit you knew that committing to tape or you could were hard disk of whatever you want to go on these days um or you khun you can do it after the fact I like and in in this case unlike like the tom's on drums but in this case with guitars are like committing the sound of tape because it's done like I know it's always going to be that I don't know I'm not gonna have a plug in that's out ofthe day they don't have the authorization for you know what I mean is later it's it's there that's it we got it this you know that's a fun part and working with all right with a device like this because I've heard you manipulate this thing and I know you know what all these things really do but it's really interesting to hear you engage some of these frequencies and term on term off and you can really warm a sound up making some creamier you know as opposed to scratchy and shift some frequencies so sometimes we'll like let's say we've committed to this sound that you want to do that for them well yeah let's record soul recording in a twist a novel of it's hard for me to hear what I'm dialing in but it will give you an idea of how much you can actually shape a sound uh with just a simply q across it and again it comes down to preferences you know like do you like this or do you not like it and if you don't like it do something different so I'm going to keep playing that same thing I was playing on we're going to record it again we're gonna record again so here we go earplugs and everybody all right, so I don't know you guys hear any other guys must have heard some of that stuff, but we'll stay back and listen back to it and see what all that did a lot of, yeah, that's, what I was doing was basically sucking out mids in various different frequencies, and sometimes you don't really smooth sounds. Yeah, sometimes you don't want this new sense sometimes want that original attack of the thing so it's up to you are really ready? Or sometimes you want a guitar to contrast previous recording its heart, so sometimes I'll go in, and I'll do harmonies on some guitars like some octave harmonies or something. I remember you doing that early on in a song like the first death album and watching you play with this thing and really dialing a different sound that would complement or contrast the previous recorded rhythm guitars and sometimes playing with those mids will give you that. Absolutely, and we're also looking at making space for other instruments because in metal guitars air very, very dominant and thie mids of the guitars citic sack in the same spot as to snare in the vocals. And so you want a carve out a little space out of the guitar that you, uh, have room for the snow. Your vocals and it allows you to actually have two guitars louder because that it za really it's all a relative thing if you make a little bit of space out off of the spectrum, then you can turn everything out because the spectrum right here is lower and you can move everything up around it a little bit so that's on that guitar that we just recorded will transform once you get to the final mix and we'll talk about that probably a little bit more tomorrow about mixing the guitars and mixing of finding a place but they sound quite different so when I hear the when I sometimes we'll ask for ah some of the stems of the songs is maybe I wantto do alive recording or I'll play live to like thunder horse or from uh collect I hear the guitars isolate and they sound quite different than the sound that we originally usually it doesn't need to fit into all the other stuff that's so another thing with recording guitars is something I hadn't seen before because I had recorded just hours before but these sounds the sounds of this and this sometimes resonate you can probably hear that on my microphone here, which is the beginning of running with the devil great went when you play chunky music when you stop you know, did I do something there's a lot of stop start stuff so so you'll hear some stuff you put this in just to preserve my hearing your plugs in this is really loud in here I'm just trying to tell you good sounds like it still needs some time to die down sometimes we want that to be even more there's a little chinese thing that happens when you stop incoming the's death stops on dh and chinese stuff can like mess with the gates can it just makes everything sound looser sometimes that's that's cool because it gives you like a wrong crazy individual sound on dh sometimes it gets totally in the way of things, so when it gets in the way of things there's a simple solution you just put a tiny little bit of tape. This doesn't look like tiny little tape because there's a little thicker than would normally use uh normally is just like a half inch artist ape, which is very gentle on the guitars and way don't hear you say this is much less so dampens this's dampened, so maybe that would pick up on a recording later on I realized that e I would have these on my guitars this tape and I noticed that I could do like cool things with a good start I could use it as a tremble if I had like some kind of a tape almost like a little bra tobar or like a holsworth style start doing things like that to anyway that was the thing that I and I started having uh my tech tape the back of my guitars in case I wanted to kind of do look a whammy style dip thing anyway stuff that you can do it's cool it's cool so that's ah I think that wraps us up on the am side I think that switch back over to that too okay people did right is it it'll be a lot easier for us to communicate you got it then getting blown out of our seats every time yes yes again that's why you build an isolation room that's why you put it far away from your neighbors and people's dogs and stuff like that but but that's how you record I mean I thought that first guitar sound sounded really good that sounds very close to like something you would want to I would record with that night and sometimes you just you just ah here I will grab this gain oh, sorry I got that for you that's right um yeah uh sometimes you just lined it up properly and it works but that's you know you had a question is it better to eat you like that without border? Can you accomplish the same thing with the plug in thank you uh and you can accomplish the same thing that the plug in e q yeah um I you know, if you're going if you're committing then you have it and like if you know that that's what you're going to do uh if if you're unsure you know, do it with a plug in er if you're if you're brave and brazen and you know again it's sze its decision making time for you, you know, go for it either way like ultimately gets down to the mix and when I have the luxury of tracking and mixing a project or knowing that I'm going to mix it then I can from they wanna work towards the mix, you know? I mean, um you don't want to paint yourself into a corner with something that's going to be unusable on dh if you find yourself in that position, you should go again I'll back off of this just in case because it's pretty extreme like if it kind of looks extreme and sounds extreme, it just might be the right thing for you or it might be just a little too much and you know what? I'll take it easy on this one, we'll do it. We'll make sure we're safe for later or if somebody else makes us the project I think another thing to answer the same question with a different answer is that whatever you feel good, whatever makes you feel good playing whenever you feel comfortable playing that's the right thing to record with in a lot of one. Absolutely. I mean, so if you need an extra plug in to get you a sound that maybe sometimes that can get you a sound that doesn't have everything's got its own personality. But whatever you need to get you recording is probably the right answer. So, I mean, what I have here is that is the sound of the plexi, that's, the sound of the place. We're going to take you out like crazy. People are still gonna want you record that with plexi. Yeah, because we did, and you're still going to get something else. But it really is going to be about the guitar, the and when the hands that plan, you know.

Class Description

Adult Swim's Metalocalypse is a cheeky parody of metal culture — featuring the shenanigans of a cartoon band called Dethklok. In Toontrack Presents: Studio Pass, you'll get a closer look at the creative process behind this mesmerizing metal powerhouse-turned-TV-series.

Brendon Small is the creator and primary musician driving Dethklok’s music, including its four full-length albums. In this installment of Studio Pass, Brendon and producer Ulrich Wild (Pantera, White Zombie, Slipknot, Deftones) will show how they compose, engineer, and mix the music of Metalocalypse – explaining the recording techniques used for Dethklok’s drums, bass, guitars, vocals and effects.

The music behind the hilarious spectacle that is Metalocalypse is no joke. Join Brendon and Ulrich for Studio Pass and learn about the unique creative process behind the music of Dethklok.


John Thaxton

I love Brendon. He has always treated fans super well. There's so much wisdom to be gained from listening to him about workflow and music in general. Great class!

Aaron Thurtell

Being someone new and looking into recording songs, I found this class very informative and in a way essential, the idea of recording seemed over whelming and I had no idea where to start, being a fan of Brendon small and Ulrich Wilds work on Dethklok and Galaktikon I found it very enjoyable and must for any fans of Brendon small looking into how he goes about making a record