Richard Chycki Discusses Recording John Petrucci's Guitar 

I live for content like this. Good work!

This video was SUPER interesting!!! Keep the good job, guys!

huge video, thx for the photos guyz, it helps !

Great interview!Informative!Thanks,Guys!!!

Great video Mitch. Very informative.

Is that James Labrie's Dad!!

Great interview! You should create a series of videos like this with producers and engineers. Cheers

More videos like this, please.

Great interview.

AMAZING VIDEO!!

great interview

Please do one with Flemming Rasmussen - Recording the Riff Master's guitars - James Hetfield!

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.

This is like a 60 Minutes interview for music. Awesome

i still miss the ibanez/floyd rose sound

the guy was in winter rose band with james labrie? right? richard chycki on guitar!

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.

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

I want to see for John myung

Can you imagine being the assistant that helped to get Johns tone?!

17:30 LOL that Arnie voice

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.

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?

Will there be a video for John Myung?

how do you measure phase between microphones ?

how to capture god

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.

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.

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.

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.

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.

The worst tone ive ever heard in DT history... black clouds and silver linings was waaaaaaaaay better...

This guy has to be fired

Dream Theatre is a great band but their production is always cheesy and overcompressed

The guy that ruined DT's sound. Can't blame him for the music though, thats the band's fault.

with him DT went downhill

craaaaaaaaaaaaaaaaap

Mangini's drum sound was destroyed in DT and TA...worst Petrucci sound ever by the way

One can also capture Petrucci's crap tone with a $4.00 hefty garbage bag from Target