I have been doing some home recording using the JP-2C, 1x12, an Royer R121 on center and a 57 about 2 inches off the center of the cone with the whole thing stuffed in an isolation box I built. I am recording with the UA Apollo with the Neve pre-amp Unison plug in. I am very happy with the sound I am getting.
I just clicked on this to hear how the man's name is really pronounced! On a sidenote, Mitch looks like a gracefully aged James LaBrie. You'll never be able to unsee it now.
Not sure if Rich and Sweetwater read these comments but I will write this anyway as others obviously read this. Maybe the info can help someone. One way to get the precise measures for mic distances is to use the rig Eric Valetine designed and used for recording Slash. Valentine made this rig that actually moved the mics on command while Slash was playing. Computer controlled Valentine could dial in the distances and the rig would move accordingly. Once they got the perfect sound they would note down the settings. This way he could replicate the session, as much as possible, whenever he wanted. This also saved the assistant from the physical trauma incurred by being so close to the amps and speakers. One more Valentine / Slash recording technique was to isolate Slash in a booth. This was basically because Slash hates using headphones and loved monitors. He too likes using and hearing those organic sounds while recording. I'm sure there are great tips and tricks Richard could teach Eric as well. Would be great to know if recording engineers like these guys talk with each other about their craft. Would hope so.
Thank you so much SweetwaterSound for this great video! Maybe I missed it, but how much did Richard EQ-ied the tone he finally gets from the mics? Is there a typical low-cut or bumps he did on the guitars with the EQ? Thank you so much, looking forward to more of these videos like that. Michael
One thing I've noticed about The Astonishing is it sounds anything BUT organic. His guitars are tracked so perfectly, and you get a glimpse of how this was accomplished when the engineer discussed locating the mics in such a way as to not get any time differences, as well as other details...., it's like his guitars have lost that natural feel from past albums. In my opinion, it's TOO precise, and it's the first album from DT that I just don't like. Everything sounds too processed. Maybe just setting up the different mics at the same distance from the cabinet so you GET some time variations (I mean really, how much are we talking about??), and go ahead and ALLOW a bit of bleed thru. Again, we wouldn't be talking about so much that it would sound bad, but it might help making the tracks sound a bit more natural, which is what my ears tell me what it needs. On the whole, the album sounds "plastic," if that makes sense.
@Wilmer Waarbroek Well, even though it was 2 years ago, DT's new release still sounds the same. Well, some pointed out the drums sound more lively, but I couldn't get past the song myself. Same repackaged DT motifs. But yeah, music in general is just too inorganic these days. Maybe it's me..., well I'm sure that's at least part of it: I'm almost 60, so I remember what analog and tape, and vinyl records sounded like. Heck, the multi-effects processor I use (Axe Fx III)..., the main guy there just posted a clip that sounds just like a guitar amp right in the room with you. But the digital wizardry he had to do to get that sound, I can't even imagine! But that's where it's at today: making digital emulations of things that sound good. But in many cases, it's too much processing, or the digital recreations just aren't yet good enough. (Although the Axe Fx is fucking awesome in that respect!)
If you have a 1x12 with two mics. When measuring the two mics say 57 at the center and a condenser more off to the side. Should the two mics still be equal distance from the speaker? Or should the condenser be pulled back a little further away from the speaker cause on the speaker edge there is less depth from the mic capsule to speaker than the 57 at the center cause of the shape of the speaker?
He captures the guitars well, but whoever mixed the DT-DT (black) album needs to have his hearing checked. In places, you can barely hear James at all, like he was singing in a different room. I prefer Kevin Shirley's ear, personally.
Seems like a lot of work that can be easily accomplished using a Torpedo cab simulator. His amps even have the CAB Clone which is not as great as a Torpedo product. Ultimately the Astonishing album guitar tone still isn't that great as his past tones in Awake for example. Miss the Recto grind from that era.
Getting great tone is a labor of love.. Remember your torpedo product wouldnt be possible if people hadnt taken the time and effort to learn to track great tones the old fashioned way... Torpedo for the demo/jingle/songwriting.. Never gotten any cab sims to sound as good as a cranked tube amp through great preamps, mics, and converters...
Alejandro Hernández That was the last album I liked from them. Cant listen to the new stuff, too compressed and modern typical. MP was so much more than the drummer, he was the recording balance and second producer. His drum sound is so consistent because he knows the engineering. Mangini doesnt and I dont think the band has a confident direction without someone mediating the process.
He's a genius, but for me "the sound" of DT lies between SFAM and SDOIT, TOT sounds good but it has not always the right dynamics for me. Kevin Shirley's era.
I live for content like this. Good work!
More videos like this, please.
This video was SUPER interesting!!! Keep the good job, guys!
I have been doing some home recording using the JP-2C, 1x12, an Royer R121 on center and a 57 about 2 inches off the center of the cone with the whole thing stuffed in an isolation box I built. I am recording with the UA Apollo with the Neve pre-amp Unison plug in. I am very happy with the sound I am getting.
Is that James Labrie's Dad!!
You mean, James LaBrie's younger brother?
Right?? 🤘🏼😂
I heard it was Richard that knew LaBrie and introduced him to Dream Theatre
@@canadianshadowrider winter rose
Great interview! You should create a series of videos like this with producers and engineers. Cheers
Please do one with Flemming Rasmussen - Recording the Riff Master's guitars - James Hetfield!
huge video, thx for the photos guyz, it helps !
Great video Mitch. Very informative.
This is like a 60 Minutes interview for music. Awesome
the guy was in winter rose band with james labrie? right? richard chycki on guitar!
i still miss the ibanez/floyd rose sound
GREAT QUESTIONS !! thank you
I just clicked on this to hear how the man's name is really pronounced! On a sidenote, Mitch looks like a gracefully aged James LaBrie. You'll never be able to unsee it now.
Great interview!Informative!Thanks,Guys!!!
Not sure if Rich and Sweetwater read these comments but I will write this anyway as others obviously read this. Maybe the info can help someone.
One way to get the precise measures for mic distances is to use the rig Eric Valetine designed and used for recording Slash. Valentine made this rig that actually moved the mics on command while Slash was playing. Computer controlled Valentine could dial in the distances and the rig would move accordingly. Once they got the perfect sound they would note down the settings. This way he could replicate the session, as much as possible, whenever he wanted. This also saved the assistant from the physical trauma incurred by being so close to the amps and speakers.
One more Valentine / Slash recording technique was to isolate Slash in a booth. This was basically because Slash hates using headphones and loved monitors. He too likes using and hearing those organic sounds while recording.
I'm sure there are great tips and tricks Richard could teach Eric as well. Would be great to know if recording engineers like these guys talk with each other about their craft. Would hope so.
great interview
I want to see for John myung
Great interview.
AMAZING VIDEO!!
Can you imagine being the assistant that helped to get Johns tone?!
17:30 LOL that Arnie voice
Thank you so much SweetwaterSound for this great video! Maybe I missed it, but how much did Richard EQ-ied the tone he finally gets from the mics? Is there a typical low-cut or bumps he did on the guitars with the EQ?
Thank you so much, looking forward to more of these videos like that. Michael
Servus Michi. Fix ein ordentlicher Low Cut am Neve (Vermutlich bei 10 oder sogar 8k) ;-)
One thing I've noticed about The Astonishing is it sounds anything BUT organic. His guitars are tracked so perfectly, and you get a glimpse of how this was accomplished when the engineer discussed locating the mics in such a way as to not get any time differences, as well as other details...., it's like his guitars have lost that natural feel from past albums. In my opinion, it's TOO precise, and it's the first album from DT that I just don't like. Everything sounds too processed. Maybe just setting up the different mics at the same distance from the cabinet so you GET some time variations (I mean really, how much are we talking about??), and go ahead and ALLOW a bit of bleed thru. Again, we wouldn't be talking about so much that it would sound bad, but it might help making the tracks sound a bit more natural, which is what my ears tell me what it needs. On the whole, the album sounds "plastic," if that makes sense.
@Wilmer Waarbroek Well, even though it was 2 years ago, DT's new release still sounds the same. Well, some pointed out the drums sound more lively, but I couldn't get past the song myself. Same repackaged DT motifs.
But yeah, music in general is just too inorganic these days. Maybe it's me..., well I'm sure that's at least part of it: I'm almost 60, so I remember what analog and tape, and vinyl records sounded like.
Heck, the multi-effects processor I use (Axe Fx III)..., the main guy there just posted a clip that sounds just like a guitar amp right in the room with you. But the digital wizardry he had to do to get that sound, I can't even imagine! But that's where it's at today: making digital emulations of things that sound good. But in many cases, it's too much processing, or the digital recreations just aren't yet good enough. (Although the Axe Fx is fucking awesome in that respect!)
Anyone know what mic's JP used on A Dramatic Turn of Events?
If you have a 1x12 with two mics. When measuring the two mics say 57 at the center and a condenser more off to the side. Should the two mics still be equal distance from the speaker? Or should the condenser be pulled back a little further away from the speaker cause on the speaker edge there is less depth from the mic capsule to speaker than the 57 at the center cause of the shape of the speaker?
They have to be in phase, so the distance from the capsule of the mic not the body of the mic is crucial
Will there be a video for John Myung?
I think JMX's sound is a DI/Distorted Amp/Chorused or modulated Amp combination
How was 1 v30 not destroyed by that wattage?
I wish he clarified how each guitar track was panned! Left, Center, Right...I’m assuming dead Center, but also think that would crowd the track. Hmmm.
how do you measure phase between microphones ?
3 to 1 rule. He mentioned it.
karthik4rock Physics. Try solving differential equations for mechanical longitudinal waves.
how to capture god
He captures the guitars well, but whoever mixed the DT-DT (black) album needs to have his hearing checked. In places, you can barely hear James at all, like he was singing in a different room. I prefer Kevin Shirley's ear, personally.
Richard Chycki engineered/mixed DT13
Seems like a lot of work that can be easily accomplished using a Torpedo cab simulator. His amps even have the CAB Clone which is not as great as a Torpedo product. Ultimately the Astonishing album guitar tone still isn't that great as his past tones in Awake for example. Miss the Recto grind from that era.
To me the best DT album soundwise is Six Degrees.
Getting great tone is a labor of love.. Remember your torpedo product wouldnt be possible if people hadnt taken the time and effort to learn to track great tones the old fashioned way... Torpedo for the demo/jingle/songwriting.. Never gotten any cab sims to sound as good as a cranked tube amp through great preamps, mics, and converters...
The worst tone ive ever heard in DT history... black clouds and silver linings was waaaaaaaaay better...
Alejandro Hernández That was the last album I liked from them. Cant listen to the new stuff, too compressed and modern typical. MP was so much more than the drummer, he was the recording balance and second producer. His drum sound is so consistent because he knows the engineering. Mangini doesnt and I dont think the band has a confident direction without someone mediating the process.
The problem is not the tone from the amp, but the mix.
Keep in mind the tone of the guitar track alone vs in the mix may be dramatic and not necessarily pleasing..
The guy that ruined DT's sound. Can't blame him for the music though, thats the band's fault.
This guy has to be fired
Mangini's drum sound was destroyed in DT and TA...worst Petrucci sound ever by the way
He's a genius, but for me "the sound" of DT lies between SFAM and SDOIT, TOT sounds good but it has not always the right dynamics for me. Kevin Shirley's era.
Dream Theatre is a great band but their production is always cheesy and overcompressed
Dream Theater 2013 had amazing production. So clean and clear.. I mean just listen to Along for the Ride. Stellar clarity.
@@VinnyG_Music Yes I love the sound on behind the veil
with him DT went downhill
craaaaaaaaaaaaaaaaap
One can also capture Petrucci's crap tone with a $4.00 hefty garbage bag from Target
Wow! lets hear your tone numb nuts? tough talk from the anonymous zakariah....