How to edit metal guitars: Preserving PICK ATTACK w/ Joey Sturgis
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- Опубліковано 4 жов 2024
- Learn one of the keys to editing metal guitars: preserving the pick attack. This can be the difference between tight, punchy guitars and weird-sounding, weak guitars that just sound... wrong.
Joey Sturgis shows how he does it in Cubase using slip editing, nudging and other tools in this clip from his Guitar Editing Fast Track.
Get instant access to the rest of Joey's Guitar Editing Fast Track when you join URM Enhanced ► urm.academy/enh...
NAIL THE MIX is an online mixing school created by Joey Sturgis, Joel Wanasek and Eyal Levi - the guys who produced bands like TDWP, Chelsea Grin, Blessthefall, Machine Head, Monuments, Miss May I, Of Mice & Men, Reflections, Born Of Osiris, Asking Alexandria and dozens more of this generation's best metal bands.
Every month, NAIL THE MIX members get exclusive access to the REAL MULTI-TRACK SESSIONS from a REAL ALBUM, and a 6-8 hour live streaming class from the producer who mixed it. These are the actual sessions by bands like Gojira, Meshuggah, Periphery, Papa Roach, Machine Head, Bring Me The Horizon, A Day To Remember and more - and NTM is the only place in the world you'll get access to them!
What's your best trick for editing guitars??
zoom DI's to atomic level make sure all sinusoids are continuous and smooth
I edit nearly everthing with cubases warp tool. so no information of the track can get lost. with convenient downpicking and hitpoint settings auto quantizing sometimes works too. in the beginning it feels kind of tedious with the warp tool but once you get used to it, it's just amazing
Layering.
Having the guitar player be able to play the riffs at tempo.
ganz genau
Holy God, I have not necessarily always been the biggest fan of Joey Sturgis, though I respect what he has done for heavy music, but he just saved me so much time and so many headaches by showing that awesome "trim the end left and then (nudge) the start left" trick across all the individual notes en masse. I was editing every individual cut's starting point... for both, or sometimes even four, guitar tracks... which is tedious and time consuming no matter how efficiently you can operate.
That is the most satisfying mouse and keyboard click I've ever heard in my life. Hell with the song, please record an album of just those keystrokes.
I'm definitely in the "practice and play it right" camp, but I can still appreciate the techniques taught in the video. I don't think editing itself makes guitars "soulless", what I DO know from personal trial and error, is that great timing isn't as binary as saying "off grid=sloppy, on-grid=perfect". Joey's on-grid preference is not for everyone. But if your internal timing is good, you can deliberately play ahead, on or behind the beat to create different vibes and grooves. So instead of going nuts in the comment section about URM ruining music for sharing this knowledge, I think it's better to learn these techniques in conjunction with learning about timing and groove. Joey says "I prefer to edit to the grid" in this video for a reason, because that's only one way you can use it. Maybe that disclaimer got lost on some of the commenters here. The techniques in the video are just as useful regardless. Good video!
Well said! If you wanna use this technique, go for it... if you don’t, that’s cool too! We are just here to show how it’s done- never to mandate what anyone should or shouldn’t do in terms of their creative vision.
Always a lot of sad people in comment sections of videos where editing is involved. I have an idea. Instead of ridiculing URM, an extremely successful company who has worked with LITERALLY the worlds best and brightest Metal musicians and engineers, that has been transformative in the lives of young engineers across the globe, start a guitar teaching company to help with this great affliction in the music industry. Use your seemingly bottomless wealth of knowledge of guitar playing and teach young players to play to perfection. Tell them how to fund a months long studio sessions to make sure that every take is void of mistakes and flush with emotion. Let them know that they can save engineers from editing if they just follow these simple steps (or whatever methods your supremely illuminated minds may think of). Find ways to bring yourself success through your truly awesome powers of music while teaching others to do the same (just like URM has done).
Thanks Joey and URM for helping engineers become successful and content in their lives and careers. Thanks UA-cam virtuosos for any future contributions you may make to the music world that will surely transpire from your eloquent comments and endless abilities as the greatest guitar players/engineers/drummers/etc. in the world.
“Your seemingly bottomless wealth of knowledge” 👏🏼👏🏼
not dogging the talented engineer making a living, but there seems to be a major issue of expecting metal musicians to have robotic timing. this was an A+ demo, but I'm willing to bet that there was nothing wrong with the original performance. people are too quick to cover up miniscule mistakes rather than owning them. why put tens or even hundreds of man hours writing an awesome song, just to be lazy on the recording? in my opinion, and this is just my opinion (don't be triggered), in applying this technique to every aspect of the song, the band's style is substituted by the the engineer's. and at that point, why even have the band in the studio to begin with
It's only an issue to very few people. Most music fans don't even know what guitar editing is, let alone what it sounds like. Also, some music styles aren't meant to sound "human" or at the very least the bands don't want those little mistakes that some people (myself included) love. Some bands like when everything is on the grid and that has never been a big deal to me.
Of course there are lazy bands/musicians who don't deserve accolades for their subpar playing, but a lot of times when it comes to the perception of bands being "lazy", that can be contributed to studio budgets. Short a the few big bands in metal we all know and love, people don't have the money to spend in the studio until every take is perfect. You have to get it as close as you can and move on. Editing like Joey is doing here is only effecting about 5-10% of the overall take. Very minuscule moves that just bring a little more to the overall outcome of a song. It's REALLY expensive to record an album and spending more than a week or two in a studio is almost completely out of the question for some bands, especially if they're working with a producer.
My biggest thing is when people lie. Like saying "we don't use samples or editing" and then I listen to the song and hear Kick 10 and Snare 12a and every hit is right on the grid. Or when an engineer re-records all the bass parts and the bassist takes credit for the playing. That's where I tend to draw the line for shite musicianship. I can understand why some people are "purists" about music. Demanding perfection from musicians and engineers alike, but the reality is there are about 5 (metal) bands that could pull it off while meeting the fan's expectations of a modern sounding record. If there's no point for any band who isn't capable of pulling this off to record an album there wouldn't be any records to listen to.
The greatest part of this whole conversation is: you can simply chose not to listen to music that has editing in it. If this would be difficult because a majority of your favorite bands use samples or editing, then maybe it's not as big of a deal as some people make it out to be.
A lot of great points though, I do understand where you're coming from. I've always been more of a feel kind of musician/engineer/fan so the concept isn't lost on me.
@@thebigminsk1 That's what Live Performances are for. Recordings are like making a movie, it has to be perfect. Even Metallica's Ride the Lightning is a Perfect Record.
Cant believe i found someone smart in these boomer ass comment sections. Well said mate
Seems like producers these days have to put more work on the songs than the actual musicians lol
110% lol
It’s true they have to care just as much if not more
That’s always been the case.
Yep very true
YES lol, And I dont know how many times I have replaced the guitars entirely 😂And I only own a home studio, where I record local bands lol
Wow, I've been doing this all the time and always thought it's something I am waisting time on. Now I see that this is how you do it as well and it makes me feel a bit proud :)
That trim left, trim start blew my mind.
BEST video I've ever seen on guitar editing!!! So many awesome courses in URM, I'm going to go through this Fast Track this weekend for sure!
This is only 1 video of I think about 15! Lots more waiting for you :)
Thanks! I just logged in, and saw. Can't believe I've missed this one.
I LOVE URM, and can't believe how much awesome info is in there.
Here’s what I think, if it sounds good and satisfying, I don’t care if the guitars are overly edited. Thy Art is Murder’s Hate is obviously edited with sample drums and precise guitars, but it sounds incredible! Everything on that record is done in service to make the music heavier. On the other side, Nails’ Unsilent Death is the complete opposite, the heaviness comes from the riffs and how untouched the production is. Both of these albums are satisfying and great sounding, I don’t care how they got it, as long as if it pleases my ears!
Good choices for your examples. I like that raw hardcore ethos but the metal I like to play needs to be almost machine like. Why not take the best of both? You can use tight editing and still leave human feel in there.
I don't understand all the hate on editing guitars. Keyboard parts have been quantized since the early 80's and nobody seems to mind, and don't even get me started on arps...
Is it ok to edit photos? How about movies? It’s just such a silly debate... do what you think sounds good! Nothing else matters
@@URMAcademy I totally agree with you, all that matters is how's the final result coming up. But also, I think its not relevant to make an example with movies or photos, cause the main thing and difference is: these two examples don't have to play live. If we discuss to an extreme what "sounds" is and the musicality of it, you really have to put it a 100% as a performer, although the adjustments are really minor. In other notes, the tutorial is great and helpful, will definitely try this on future edits.
THIS! This was just the exact tip for guitar editing that I was looking for. I kept doing this but not knowing if it was a mistake leading to fall off time
Glad we could help!
I find a lot of people are surprised that guitars are edited this way. It's what makes your sound go from amateur to professional.
Even the tightest player won't be as precise to the grid.
I don't care how many times i watch this vid amazes me the speed he work at
I'm going to join JUST to get his course. This is exactly what I need just starting out.
This was a big help. Looking at a di and a recorded amp tracks, I often find myself wondering if the di has latency, compared to the amp track. It’s the pick attack that’s throwing me off. If that makes any sense. Great vid!
I prefer the old school way, even if it takes me 200 takes, but all the sweat and pain will be on the recording, which is worth the effort, but that's just how I roll. Obviously, if you pay for studio time, it's s different story, but for home recording I go all in and put in the hours to get a perfect take. It's also good practice.
No human will make a perfect take. This makes it sound professional
I need an editing course like this in detail for pro tools.
I too could use a rundown of this technique mirrored to pro tools
URM Academy has a fast track called "Intro to Pro Tools with John Douglass" that covers PT editing. You can watch a preview of it here on their YT as I just did today :D
This is exactly what I was looking for. Thanks so much for this valuable tips!!!
I believe this type of super precise, precision guitar editing just depends on the genre you are playing or producing. I wouldn't do this if I was making a doom metal or sludge song because the looseness is part of the style. Heck, I maybe wouldn't do this on a hardcore album because raw production is better for that aggressive style. If you are producing tech death, or djent stuff then precision and attack is key for making the sound massive. Ideally, you want your guitar and bass players to do that from the get-go. A good performance is always better. However, I can see why people come to Joey to produce their records, he's got a style and they want that for their record, and it for the most part works.
Clean production isn't always awful, you just got to do it right.
Glad to see I've been doing this correctly when it's needed. 🤘 Tight tight tight
This guy is insane. But also a wizard. Holy crap.
Very similar to the Mix Course Joey did all those years ago. Great information!
Thanks for watching!
damn... next level cubase editing right there...
I always find it interesting to see what pros have for tips.
Only to find out what I've played around with and figured out is basically the same thing they're doing.
Might learn to do something easier. But it's usually the same.
Great video. I’ve been having trouble with taming the pick attack when I use amp sims.
So I use Logic. Can I use these tools he showed in Logic? What are they called?
Also, should I really be lining both the left and right guitars perfectly to the grid? Aren’t the L and R supposed to be a little different to give width? I’m honestly asking bc I’m new at this and want to learn.
Damn... my head hurts. Joey flies!
I’ve been using reaper lately. I miss the editing controls of Cubase, I need to find a template for reaper that has all the exact shortcuts and functions.
I love your work Joey. Stand up and Scream by Asking Alexandria is a great record.
This is GOLD.
I was getting frustrated that a blast beat I was trying to nail was just sounding bad due to phase problems between one guitar and the other, but this just made it hit like a monster.
Thank you thank you thank you
We blast beating on guitar now?
I think those little mistakes make tracks more interesting, like when you make bread at home, it doesn't look like a perfect loaf made in some Factory, it has character
incredible technique
What's the max amount of zoom you use when checking for transient being late or early ? I've noticed you have to let a certain amount of uncertainty in timing in order for it to sound "played". Sometimes L & R strokes would sound right, but zooming in a lot let you see that the transient are not "on time".
How trim the end left and trim the star left in pro tools?
great technique i use this for vocals too
How do you slide de wav form left and right from inside without moving the box ?
I wonder how to do that start nudge thing in Ableton
I do the opposite as I want to preserve all guitar timings, especially the main rhythm guitar track and match the grid to variable tempo changes and multiple time signature changes. Anything that I program on the grid with midi I use random humanize and groove plugins. The natural unquantized main rhythm guitar becomes the variable tempo map of which the grid then conforms to all the humanistic timings whereby grid measures could be rearranged so long as the corresponding tempo map is also cut and moved. Various DAWs have their quirks in how to do this but some cannot cut and move tempo maps along with the measures, so the master tempo track has to be recalculated as is the case with Ableton Live. In Cakewalk Sonar you just drag the master DI track onto the top measure index bar. In Ableton, the project needs to open up a new project and select the track as master instead of warp. Unfortanately, Ableton will not copy and paste tempo mappings created from a master unwarped track, however since regular variable tempo maps can indeed be moved and edited, one can sync up two computers with link and manually record the master tempo map onto the new project and then import all the wave and midi tracks onto the new project with the editable tempo map. Just turn off master and warp on the main guitar track and make sure the tempo map is also included and all applicable tracks for the measures being time sliced in and out. Just keep in mind that a time signature change will also effect the other accompanying tracks which often midi alignments will not always match up automatically to slave warped audio tracks. Live unquantized drums can also be used as the master unwarped variable tempo track or any other track that defines the songs humanistic groove.
There is no excuse as to why producers have not used this humanizing technique. Music production has become an assembly line of stagnant and lifeless music that often gets stripped of feeling the compositions the way the musician intended. Electronic Dance Music should also use these techniques instead of dumbing down the populace with quantized 4/4 unchanging tempos. Whenever a song has been completely realigned and pitch corrected, it becomes mechanical and lifeless. Convert the 100% quantized lifeless song with a constant velocity on each track and you have the equivalent of a lifeless midi song. Blast beats will sound like rapid machine gun firing instead of a drummer playing blast beats.
You know if this can be done in logic? I think logic has a smart tempo feature but I wonder how it’s done manually
Awesome. Great video Joey.
I have a question. There is a trick that most producers use to make a guitar stereo by recording the same riff two times and panning the two tracks to left and right. But whats a good practice to archive the same result with vst sample libraries? For example, Strummed Acoustic library for Kontakt. If you make two independent channels of same vst and play same notes on them, they will sound exactly the same as there won't be natural randomness.
how did you edit without pick attack like tapping or legato?
Excellent work!📍thanks
Sick. I never edited guitars before in this way. I like a bit of that natural human playing in my own music but that's really cool. I should try it sometime.
Just to be clear we aren’t saying that you SHOULD (or shouldn’t) do this- just giving you an option to use if you think it’s right for your mix!
@@URMAcademy i definitely understand, I never did it but I never even knew how it was done.
Perfect skills Joey! you are a genious! my favorite
Oh boy, oh boy!!!
Oh boy!
Joe Sturgis is the best! :)
And here I've been making sure I just had really solid guitar takes, like some idiot :D
Do you need to have auto cross fades turned off to do this? I find that when I nudge and add the crossfades, I end up with way more clicks and pops than if I don't. In this video you're is using a .031 ms fade, but that isn't an option for me in Cubase Pro 9. Thanks again for the help!
Ableton user here. Those are some nice editing tools you gut there... :)
using ableton for metal productions is illegal.
@@doktorschosch6676I use Ableton to track variable master tempo maps of untouched live recordings of the first track, usually rhythm guitars or drums. I do not time align guitars as presented here unless it's the last resort whereby the original performer cannot rerecord the track. Even electronic dance music could be produced this way instead of dumbing down the populace. Ableton can record variable tempo changes as well as map out an unquantized DI track so that its grid conforms to the original track. Instead of time warping audio tracks, the midi grid gets warped into unquantized subsequent tracks. This URM video is teaching how to convert Cubase into the horrors of quantizations that is equivalent to Abletons mechanical quantizing.
how do I make my pick attack stand out like crazy in the rhythm guitars? Wintersun's Time I album has a heavy pick attack click in the rhythm guitars and so does Sylosis's album Dormant Heart. Can anyone help?
What have you tried so far? Transient designers and compression can help, but nothing helps more than playing hard as hell near the bridge haha
@@HondoFelder ua-cam.com/video/ZNLDzoNoN60/v-deo.html
Here's a specific example of what I'm talking about. Skip to the 1:29 section. Hear that click on the descending rhythm parts? I must have that lol
Alex Sharp Thats the guitarist “Jari” hitting the low string hard with his pick. The pick is almost creating a small harmonic how hard he’s hitting it. Sounds like the gain isn’t cranked to 10 either. Really practice your down picking and get a nice tone, hit hard with a thick pick. And you’ll have close to that sound
Steve I’ve actually figured it out since writing this comment. Thanks though
How to trim start and end item in Reaper like Cubase?
What r the keys been pressed and cubase settings for this
I wish I could've heard the before and after
I just need to know what kind of guitar doesn’t have static in the background? I have to always have a limiter...
I hate using limiters.
Noise gate or just better pick ups
I love that ^^
No lie the thumbnail made him look like he has one arm 🤯
3:38 in regards to transients happening before the grid line, where or how do most ppl have the song begin? Lately I leave one bar open so that most of my songs will start on bar 2.
Is there another way to address this?
yes, in cubase you can add as many extra measures before 1 as you want, just go to project settings and there is a "Bar Offset" parameter
ive gotta say, im fairly new to mixing AND i know for a fact ive cut sooo many pick attacks because i didnt realise the impact it had lol, awesome advice.
btw, why the fuck are people even debating it, if it sounds good who cares, if you dont like it, dont listen to it, its as simple as that.
Every time I edit guitars I have this looming bad feeling that I just waste time. Let me explain: if the guitar tracks have no mistakes in them (every note is there and defined, there are no empty strings ringing in) and if the two (or more tracks) are aligned with each other then we are in the gray zone of _"feel"_ and _"limitations of human perception"_ i.e. you are no longer sure if it is off, and also of _"stacking transients"_ of kick/snare + guitar + bass or not (i.e. there is this EDM trick of misaligning the snare/hi hat from the kick just a little that it still feels as one, but one transient doesn't compete with the other). If I, as a guitarist, close my eyes and listen to the song with my ears and can't tell where I was late/early, then why I, as the mixing engineer, use my eyes to correct everything with a ton of time invested?
Surely if get a good recording thts in time.. Moving your waves over will just fuk it right up?
Hey, I'm sure this works for this sound. Don't hate, just don't do it. Be the change you wanna be, don't just bitch about the change you wanna see.
👏🏼
how it works in Reaper
I know he was using this tip a lot when producing asking alexandrias albums 😂
My best tip is make the player play tighter. That's all.
I appreciate the production skill this takes, but if it's my studio, i'm making them get it right lol
@Sergio Good thing my studio is primarily set up for myself, then. Also- many producers in metal share this mentality. A good take is better than any editing you can do. Period.
The thing is, if you look at the transients he's editing, the guitarist played great, and naturally on time. If he was editing a bad take there would be way more space between some of the notes after he edited them to the grid
@@RcKDrUmm3R you’re not wrong. Like I said, this is some black belt level production. I appreciate it, but I also appreciate a good take. Tiny flaws staying in give character. I admire the hell out of the work he put into this session.
yeah well. I played since 1989.If you over edit things just die.
Maybe people should just spend more time training playing tight?, using left hand techniquews to get breaks tight?.
Remember DISMEMEBR they never used gate live they STOPMED the hm-2....
The new young guitarplayers play so well it's a killer to edit their tone...IMHO.
giving a thumbs up for the demo because this can help some newbies, but this highlights exactly what is wrong with metal these days. rather than paying someone to fix all your mistakes, why not just pay studio musicians to play it right for you in the first place? stop pretending that you can play the music you write and practice. sometimes the best part of a band's style is being able to hear some of the mistakes. it can give a song a more organic feel
Thanks for the video Joey! Being a cubase user myself your editing techniques help me a lot! I don’t know why so many people are hating on it... if you don’t like the technique then don’t use it, no use in saying this makes the music lifeless and dead
Somewhere in Windsor Ontario, Glenn Fricker is yelling, "You don't need to do this, if you RECORD IT RIGHT!" I completely agree. I love modern technology for recording, but it's making guitarists lazy, and producers becoming "try-hards" at their jobs. Keep small mistakes. Keep the human feel. If you want it bang on perfect, soullessly robotic sounds, just use Solemn Tones Odin, and be done with it.
This is how I edit, and I can tell when guitar is programmed versus edited. The human feel is fine and good, but when people are paying you to give them the tightly edited sound, you can cling to an outdated ideology, or you can cash your check.
I think a healthy balance of both!
Remember, engineers were never aiming for anything other than perfect, it was just that perfection wasn't as easily reached back then. I just wish the focus nowadays was to make an interesting sonic statement, challenging and engaging your listeners in ways that hasn't been done before. But no, we've painted ourselves into a corner by chasing a sound that has now become THE sound. Nobody really challenges the intent of the soundstage, it's like "heavy music needs to sound heavy" and "heavy" sounds like "so and so".
Two things:
1. We aren’t saying that anyone should or shouldn’t use this technique. We’re just showing you how it’s done; whether you want to use it or not is up to you.
2. In the real world, re-recording is not always an option like it is for hobbyists. If you’re given DIs and the band is on tour for example, you have to work with what you’ve got. It’s not always as simple as you think. “just record it again” is great if you are recording yourself at home, but not always possible at the pro level.
That last sentence is spot on, Tree Cube. I prefer to do as little editing as possible but if the client brings me the new Archspire for a mix reference I'm most likely going to be doing some serious editing. I've done records with zero edits and I've done records where the edits took me weeks to do. Just depends on the client, their skill level, and the vision for the final product. I'm not gonna be mad at a cabinet maker for using a power saw just because "back in his granddaddy's day nobody ever used power tools" so why would I be mad at a band for wanting to use modern technology to enhance their art?
Glenn Fricker and everything he does sucks though. That's why people go to Joey and he actually made something for himself. also The Odin is garbage. MusicLabs Real Eight is better.
damn i have alot to learn... :(
The pick attack? Spinal Tap would have a word with you...
It's the SSSUUUUSSSSSSTTTAAAAINNNNNN!!! ;D
Play tight - use REAPER :P
Chug chug
now i can see why most metal albums took long to produce 😂
ngl tho while i personally don't do it, if the genre & client wants to, why not? (like some über-tight djenty progressive metal where syncopations can sound really bad if it's not 99% lined up)
if I could hit like two times... I would do it... :)
Autotune: Guitar Edition
I assume you meant this as a snarky insult, but you are actually 100% right in a way that you probably didn't intend. Both guitar editing and vocal editing happen on basically every modern recording, and like any other tool they can be overused in a way that sounds bad, or used to polish the finer points and improve the mix. Making blanket generalizations about such commonly used tools just doesn't make much sense, you know?
@@URMAcademy Of course. If a tool at your disposal gets you the sound that you have in your head, if it helps you tell the story you're trying to tell, have at it. It's when it's used as a bandaid or crutch to make up for poor musicianship that it's lame.
My original comment was made in jest. No offense intended.
@nmon1 Read my follow-up post.
dude you're talking about subtle changes on a 128th note scale. This is not a tool that can fix a bad performance. If you haven't tried it before, doing something like this on a performance of an artist that gave a half ass attempt will still sound bad no matter how much editing you do. Editing can only do so much before it becomes very noticeable. It is inhuman to play every part perfectly on time down to that level. It would take artists 10 times longer to be able to make their songs sound as tight and perfectly timed as the fans of music today have come to expect without tools like these.
@@anthonybeheler100 Anthony Beheler But, just like autotune, it makes it into something humans can't do: perfect.
I get that that's the sound they're after just like I get that was the sound Cher was after.
Doesn't mean I like it.
As a listener, I never would have noticed or heard this. I guess this is why metal and rock is becoming forgettable.
nobody cares about how tight the guitars are in a mix, they listen to vocals, or the song as a whole. This is a huge waste of time unless you're hyper obsessed with this kind of sound.
It's not a waste of time because you need to push a product, and if your product is shit then nobody will be interested regardless
This can lessen the time it takes to record an album. In the 90's an before, before pro tools became a thing, sometimes it took in excess of 6 months or more to record an album.
Now, technology has accelerated that at to vicious pace, and there's just nothing we can do about it. It now usually only takes 2 weeks to complete a recording. Budgets have also evaporated, so that makes speed much more crucial.
Of course this has negative effects.. Sometimes music comes out too fast and bands end up sounding the same because much of the production techniques are rehashed over and over on one band after another. But this also fits well with the way labels operate now... By choice or simply the natural reality of the business, record companies end up preferring to recycle young bands that don't expect to get paid much, rather than carry the cost of a high profile band with negotiating leverage. While there is argument to have both under a label, it's incredibly cheaper to just keep getting new bands with young dumb kids, who are willing to live off ramen and sacrifice their profit to "make it." One can with look at this as "the evil record companies" or.. That's just the economic reality of the business and what just makes the most sense to do and not go broke. It can simply be cheaper to get new bands than support old ones. But of course, it all depends. A band like Periphery survives having strangled a niche and being very DIY. Furthermore, they've also entered the new "signature gear" marketing era at the perfect time in order to supplement their direct income from music.
Back to the issue at hand more specifically...
Sometimes you get an awesome take but there is a mistake or two. Sometimes, you get awesome takes of two rhythm guitars that might sound amazing on their own, but they don't line up exactly with eachother when played back at the same time in L/R stereo. Editing allows you to fix these problems, rather than re-record a million times. You might even send all the tracks to a guy in your studio or elsewhere who just edits all day... And that's all they do.
Also, if you're not using all the tools available to polish your product, someone else is, and there's always that competition from pop/electronic genres who have perfect computer music and then the vocals are edited to pieces for perfection as well.
Mistakes are an ear sore. If you let them through at this point, your product will be seen as unprofessional. Now, if you have millions sitting in a trust in your name or something, go ahead and spend 6 months in front of a Neve console and tape machine.
If your band is also super tight live, perhaps Steve Albino can help you... Although I believe his techniques and style lend themselves to something a bit less tight than metal.
Joey has talked about these issues before.. And how part of him doesn't like it, but it's just the reality we find ourselves in right now. Time is the enemy.
But yes.. This reality can lend itself to "forgettableness.".. When bands are recycled and everyone can do it.
. And só much has become so cookie cutter.. It's difficult to stand out as all has become so mechanical.
At least a band still has to be relatively good live in order to survive though...
When you're a successful mix or editing engineer you can chat shit like this but until then, don't get caught up in how music is made. It doesn't matter how it's done when it can still hold an amazing emotional connection with an audience. You talk about how everyone high up in the industry is doing things wrong, but I doubt you will put your portfolio on show for everyone to see after trolling like this.
These people are top of the game because they notice these things that are only noticed sub consciously by people like you. And it's ironic that you actually watch this video despite your extreme view on editing (no fucking idea why you would bother when it's not aimed at people like you) then claim it's pointless when I can garauntee a ton of the music you love is edited A LOT.
Quite ignorant. If it’s not for editing like this, metal music wouldn’t be what it is because of how big the genre is into very well thought out production and the editing helps the picture being painted at a very professional level, otherwise you’d hear a lot of sloppy amp signal, string scratching, thumps on the guitar etc that wouldn’t be edited out, the average listener can listen to it and enjoy it because of stuff like this
Modernity vs groove. Call me antiquated, but i prefer the feeling of the groove that all of the humanenss produces. Perfection is boring for my taste.
I am here actually to reverse engineering the process. I want no pick attack in order to emulate Allan Holdsworth
or Fredrik Thordendal lead for that matter, which is also influenced by Allan
How to edit metal guitar: get a guitarist who can play the part
bro honestly ive just been playing until its perfect lol
Joey ..... You go way to fast and dont say how the fuck you do that on cubase to do that you juat did lol
I like to do this to a degree but if you over do it, it sound super lifeless and takes the musicality of the performance.
cutting the notes....no thanks ill just keep recording till i get it right
guitarists these days can't play on the beat to save their ass. thats why we have this crappy edited music that sounds boring.
LOL, you clearly don't have any idea about editing. In a big picture obviously you play on beat, but what happens when you try to play like Dino Cazares and you want a mecanic has hell sound? Obviously you edit the track. Doesn't have any sense edit and quantize an Iron Maiden song.
Spend less time worrying about how other people choose to make their music, and more time making your music the way you want to make it.
@Joel Moreno, nope, this video is not about that effect (which itself is really distasteful in 2018 btw but whatever), but about fixing the sloppy playing and making boring edited crap nobody wants to listen to.
@URM Academy Oh don't play Confucius here dude. C'mon man, I understand that its your job to push and popularize this "approach", but at least be honest to yourself. You never make videos about the absolutely essential technical skills guitarists these days should have in order to get great sounding performances (intonation, pick position, all 3 pick angles, the depth of pick going through the string, how sharp to pick a note etc etc). You'd rather teach them how to stretch and move notes on the grid making up for awful performances(always out of tune, always not on the beat, always sloppy long attacks). Which would always lead to this boring ass lifeless sound.
@@kimseniorb lol URM have worked with the best guitarists in the genre and they've pointed out multiple times that editing a shitty performance is no substitute for a good one - which is obvious too.
Go be a metal puritan somewhere else.
This reminds me on how absurdly inhumane music production has become. This like Autotune for rhythm. Fake and sterile above all.
Inhumane?
This is just sad. It's not even a difficult riff lol
can you upload a live take of yourself doing it
Ew quantising guitars to the grid
Horrible. Just play guitars on time, even if it requires more takes
Even one of the best guitarist needs time correction to achieve a good and tight sound! Look on video with editing guitars of August Burns Red!
Such a waste of time ...
Can someone tell me what song this is? 😅