All language subtitles for 7 - Joe Barresi

[Music]

all right so we'll have a question from

Andre how do you get that fat in your

face snare sound

and what's your tip to get a really

distorted rock guitar bass sound heavy

and so well defined

Thanks so two parts first how do I get

that fat in your face snare sound I'll

say first off the key to any great sound

is the drummer and the source can have a

great sounding snare drum but a really

bad drummer is not going to make it

sound good you can also have a great

drummer and a really bad sounding snare

and that's not going to help either so

my secret ingredient is a guy named Mike

Fasano he's my drum tech of choice and

he has a great collection of snare drums

as well and on every session I try to

get him there to tweak the drum kit and

to get the best possible sound for that

particular drummer it's really a basic

super simple technique really I don't do

anything crazy there's no voodoo

there's just minimalistic miking usually

one snare mic on top snare mic on the

bottom usually both at some 57s although

I experiment with different bottom snare

mics Centaurs of 441 beta 57 there's so

many things and and I commit to the

sound I bust them both together in a

certain blend that I like I compressed

them maybe through a focus red red and a

little bit of API EQ maybe just a crack

at 10k or at 3k or 5k and from looking

for a little more fatness I usually ask

Mike to try to get it or the drummer to

try to get it by changing heads changing

snares and something we discovered this

week you know I stressed a lot of to

these guys is that it's really important

for the phase of the drums to be

together and a key to the fat snare

sound is really making sure that it's in

phase with all the other microphones on

the drum kit because once you if you

have a skinny snare sound it's amazing

just by flipping the phase of the

overheads how it automatic

comes fatso I would highly recommend

everybody to get faced which is I put on

everything and use them part to my tip

to get a really distorted rock guitar

and bass sound heavy and so well defined

well actually to get a well defined rock

and guitar and bass sound the key is to

not make it so distorted you'd be

surprised how much preamp distortion

sort of gets in the way and I find that

if I run stuff a little bit cleaner when

you start doubling then it then it

becomes heavy and well defined there's

really no trick there either the same

same sort of thing my favorite two

microphones on a guitar amp are sure 57

and a sennheiser 421 my favorite mic on

a bass cabinet could be anything from a

57 to a 421 to a beta 52 to a violet

globe there's so many on a combo I might

end up with a roy 121 or a 101 or 122

the key is just to get the microphones

in face so usually on a combo to stick

with one microphone and that's usually a

roy or a phat tube mic or a condenser

mic and on guitars 57 421 line them up

make sure they're on they sound good

together they sound good by themselves

he sound good together and that they're

properly in phase and that's usually the

key and the same thing with bass making

sure that the mic and the DI are well

aligned so that's it Thank You Andre for

the question question from Bill how much

guitar processing do I do to tape as

opposed to after the fact or in the mix

well a lot of times when I'm tracking

I'm trying to facilitate the process so

I do whatever I need to do to make sure

that though the setup doesn't take

forever and that the band is ready to

play and when they're ready to play

we're recording so a lot of times in the

back of my head I know that I can

process after the fact as well so if I'm

a little shy on EQ or something's a

little dull

I'll maybe just process listening wise

on the console knowing that I'll

probably do it when I'm mixing because

the guitar player is ready to play and

we should

all that being said I try to get the

best time I possibly can on my way to

the tape machine that way when I go into

the mixing process I can always enhance

that but really the key is to you know

what band is ready to play they're ready

to play if the sound isn't perfect the

performance may be great so better to

have a great performance than a perfect

sound thanks for the question bill this

one's from Dan how much time do I spend

on a mix oh well typical mixed day for

me is a 12-hour day I started noon

I like to work till midnight or one

upload the mix to the band unless the

bands in town attending the mix come in

the following day at noon with a list of

changes that I would like to do from

listening in the morning and also from

the one email I received from the band

collectively saying this was great or

this was if there's if it's

something that I've tracked then I

usually know where all the bodies are

buried so in that case it's a lot easier

to mix and sometimes I could do up to

two songs a day or three songs a day and

sometimes the songs are super long you

know mixing an eight-minute song it's

not like mixing a three-minute song it's

like mixing two songs so sometimes it

might take up to two days it sort of

depends second part of his question what

I rather booster cut when he killing I'm

a booster the only thing on my cut is

some low low low frequencies but only as

a last resort when I try to clean up

some stuff but I'd rather boost and cut

any day and part three any tips to get

great sounding rocket arse great

sounding rock guitar player great

sounding guitars at staying tuned well

into nated set up properly for the

tuning and the the player if a player is

heavy-handed and stuffs going out of

tune use fatter strings tighter tension

great sound

amplifiers knowing when to augment a

player sound with something that's going

to give them the sound that they're

looking for although they might not know

it yet using a minimal amount of

microphones sometimes combining

microphones for color instead of be

queuing them separately sometimes

combining amplifiers for color and also

committing committing to a sound I think

in general the part dictates what the

sounds going to be so a fast guitar

parts didn't need to be a little cleaner

a slower guitar part has room to be

loosers there's so many variables but

the tip to get a great sounding rock

guitar is really to start with the

player thank you Dan

Jessi often my drum tom fills take on a

life of their own do i overdub tom fills

while tracking the only time I ever

overdub tom fills is as an effect a lot

of times I like to do Tom overdubs to a

tape machine and change the speed if we

do Tom overdubs with the tape machine

running super fast then when you play

the tape back normal this sound of the

toms goes down lower it makes them

deeper or if you have an ambient space a

lot of times I like to do Tom overdubs

in an ambient space like here's a great

stairwell and everything we ran into it

including vocals sounded fantastic so I

would have loved to just do some Tom

overdubs in this room here and just turn

up the room Mike's only and that would

be a great layer on top of that but

general my Tom's I don't over dub Tom's

usually only as an effect

they sound like to do a lot of times

because I like to process them using an

effects processor sort of like the big

bottom thing where you can actually tune

the frequency in and add a little bit of

gain to them and keep them up high do a

lot of rides when I'm mixing where I

turn them up super loud and then lower

them down when I they don't need to be

they're not cutting them out completely

because a lot of times the leakage is

what you need so yes

about symbols as well ever overdub

symbols yes on me anytime I work with

the Queens except for the very first

record which we tracked his drums

completely as a normal drum kit it's

always been with overdub cymbals which

is a challenge you have to be a great

drummer to do it and Joey Castillo is a

fantastic tremor when we worked on

lullabies together what we did was set

up the drum kit which is kick snare and

toms and hadn't play a fake hi-hat and

that was just a pad that he can hit so

while he was playing drums he can keep

time in a hi-hat or he would play on his

leg if he could the ride wasn't so bad

because you pretend you're going to a

ride cymbal and put a pad to the side

and then I kept the same exact drum

setup and pulled all the instruments out

and put the cymbals in there that way I

could record not only cymbals hi-hat and

ride but also some room and I kept the

other mics open if they were you know

sounded cool and same sort of thing put

some pads and so Joey could play kicking

a snare and hear them in his headphones

so it didn't feel so unnatural and that

that seemed to help so that's really the

only time I've done it and it seemed to

work on the low bars but in general I

think it's um it's an odd way of making

a drum sound and I'd rather just record

a drum kit in its entirety Thank You

Jesse I believe this is our bond do I

notice a huge difference on sound mixing

of my ssl the mixing in the box

I don't really mix in the Box at all I

might take some elements and stem them

out through a compressor or something

like that for instance if there's 20

tracks of backing vocals I might just

sub mix them in in Pro Tools out of two

outputs but I mix on a console for many

reasons especially in SSL because I just

love the way it sounds it's very easy to

get a sound on it because it kind of in

general cleans the sound of your mix up

a little SSL's not as fat sounding as a

Neve and just kind of clear stuff out

also because I've been doing it for so

long I'm used to using it and and it

sounds it has a sound mixing

the box is definitely an art and I've

not perfected that art nor do I wish to

try yet maybe one day when I can't

afford my cell anymore can't afford the

electric bill or the maintenance and I

am more comfortable working at a desk

for many reasons when I mix I like to

perform in the mix I don't like to just

draw in with a mouse vocal rides or

anything like that I like to actually

have the faders in front of me and do

vocal rides and do delay rides and

reverb rides and push the drum rooms up

on fills and kicks and snare I so I feel

like I'm you know building the dynamics

and the excitement back in the mix and

it's really a performance-based thing I

find that if I have to draw it in then

it there's no more performance it's just

you know me and a mouse which is very

boring so that's why I do it that way

can I explain how I deal with phase

shift treatment with tools like Vox Ango

PHA 979 or waves in phase well first of

all I have no idea what those two things

are so I can't explain them the way I

deal with phase shift is by moving

microphones that's the key to being a

great engineer moved microphones move

the source until everything is perfectly

aligned if you cannot figure it out use

less microphones that's key when I'm

mixing the way we used to get a bass amp

and a DI aligned and in phase was to

take the DI and delay it because the

delay signal the DI signal is always

going to be earlier than the signal

going through the DI to the guitar amp

through the speakers through the

microphone through the preamp back into

Pro Tools or tape so that inherent delay

that happens you can get better and

phase by moving the mic in front of the

bass amp or actually to laying the DI

with with guitars it's really a matter

of placing the microphones and then

checking that there are in phase

together just flipping the phase of one

of them and and you could do it with

hiss we demonstrated that this week just

at the Fabrique just putting up hiss

coming through a guitar amp and flipping

the phase on the mike brey and just

moving it around so you can hear where

the null point is

and coming back into control room and

flipping the face back and that's not

the hot spot that's not to always say

that that's the greatest place to keep

your your guitar mics I mean sometimes a

little bits of out-of-phase actually

help and creates a scoop in the sound it

might actually cut through better so I

don't necessarily use any outboard type

stuff i i like the IBP Jonathan littles

in-between phase box when I'm really

stuck and I'll throw some stuff through

that and maybe move it around a little

but even then I'd much rather just delay

something to move the track or use one

less microphone okay from John Paterno

good friend of mine where do babies come

from well John the answer is obvious

from the stork he drops them on you on

the city above the house and that's

where they come from thank you John and

from Luca how did I record the first

Queens of Stone Age record he read some

of that it was done on a soundtracks

board Rancho de la Luna I started out at

Rancho de la Luna and decided that the

room wasn't right for where we're trying

to get and we moved to a studio called

monkey in Palm Springs and that's where

we did the whole record in 17 days there

was a soundtracks console there that

belonged to the owner Steve Feldman and

he had a great amount of outboard gear

so a lot of it was cut through gear that

I brought into the studio and and

Steve's he had a lot of cal rec modules

which sounded great PQ tens or PQ 15s I

think and everything was monitored

through the soundtracks and mixed on the

soundtrack so that's where we did it at

monkey how did I create the thick drum

sound lullabies to paralyze well part of

the thick drum sound was the fact that

we overdub the symbols the the

overdubbing of the symbols allowed me to

mic the instruments from a greater

distance thereby getting a bigger fatter

sound if you mic a Tom from an inch or

two away that's you can get a fairly

good sound with the right mic and the

right Tom and the right player

but the only reason they do that is to

keep it out of the symbols if you remove

the symbols and you mic to Tom from a

foot away that's pretty big drum sound

so that's how we were able to do that

and my approach to mixing the pot by

tool I just approach every song pretty

much how it sort of dictates how it

needs to be mixed since I tracked that

song I tracked it I tracked it in a way

that it just kind of unfolded when I was

mixing I mean this all the pre-delay is

on the vocals and all that stuff was

done with you know storing tape heads

out so it would it was real print

through and not some kind of fake stuff

and it was pretty straightforward I mean

it's a great song

great bass playing the drums were thick

and I remember the guitar being super

gray to so I mean it's all there great

bands so the sort of mixing tool is

fairly easy because a sort of unfolds by

itself I don't I don't really have

another approach of them and sort of

doing what I do and the fact that I

tracked it was really easy to mix

because I put it all together as I did

it Thank You Luka that's it