Usually my Scarlet peaks (red) before Cubase, meaning I have to reduce the input level on the audio interface until it stays green, and then after that the level is usually quite low in Cubase. I use both active and passive bass, but both of them go through a preamp and a DI before reaching the audio interface.
I get around that issue by having my Boss GT-100 feed the Focusrite. It allows me to use the Boss preamp to get the signal to just the right level such that 12 o'clock on the Focusrite = nice & warm in Cubase. I really hate having a weedy signal coming into Cubase :)
Very interesting that you record your mono inputs into a stereo track. What is Cubase doing in that case? Is it just duplicating the mono input signal on both left and right channels of the track? Any drawback with this? What does it bring to you? Can you use stereo effrects that would not work otherwise?
The biggest drawback (which I'm kicking myself for not mentioning in the video) is that when you render the track it's rendered in stereo. As for what's going on under the hood, I'm not sure. if you think of it in terms of audio being audio, and the concept of "stereo" being largely irrelevant as far as the ones and zeroes are concerned, I don't think it matters. I presume the mono recording "lives" in the same audio bucket that it would do if it was on a mono track, and Cubase takes care of the panning implicitly, in the same way that a stereo guitar MFX will do if you only plug in one of the 2 inputs
No, and no. To be absolutely honest I think my room sounds pretty wonderful! It's a converted garage, with a big vaulted roof and huge wooden beams everywhere. It even has 45 degree angles in its corners! (My house's shape is very weird...) I used to obsess about stuff like that, till watching a video of Tom Holkenborg saying pretty much what I just did - he thought his room sounded great, so never bothered treating it.
I have never understood what the Monitor button does. I never use it, and I can hear myself perfectly when I record. Is it only when you add effects during the recording, and you want to hear them? What if the audio interface has a direct monitoring option? How do they work together?
How are you listening to yourself when you record? I, for instance, "monitor" via the headphone out of my Focusrite, so I need Cubase to route (i.e. have Monitor enabled) the live signal to the output, otherwise I can't hear it. Your other questions are the crux of the whole issue - you only need to enable Monitoring if you don't have another implicit way to do the job.
I was never able to get it to work. I had hideously unusable latency, despite my very best efforts, and in the end just gave up. If it hadn't been for working out how to use the Control Room I might have persisted my way to a solution, but happily my set-up now is everything I need it to be
Aren't you "polluting" your control room with all those voice-related inserts? EDIT: I just discovered in this video there are Control Room presets 🙂. Now I undertand you can easily switch between CR confiigs and you don't have to worry about "polluting" the CR with extra inserts.
Way wrong, - 18, -12, is fine both, No problem to make it hotter i cubase, and noise, signal ratio is way fine, its not about getting it hot as possible in the recording. All the pro studios doing that, so dont beliewe anything, and look take a look at some sources, that do it pro everyday, and mix and record the top artists on daily basis.😉
Fair enough. The only reply I'd give is that here's no harm at all in recording at the levels I do. As long as you don't exceed zero, it doesn't matter at all.
@@OneManAndHisSongs you get problems when you put plugins process, afterworths, you need headroom for processing, and mastering, a lot of plugins is made to only get -18, on their input to work the right way, because -18 in digital is the same as 0 in analog, you have to tjek what level your different pluing is made to operate at there input stage.😉
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Thank you Anthony ! Your playlists for getting started with Cubase are excellent, I’ll send you an update soon regarding my progress, on Patreon
Much appreciated, thanks as always :)
Ableton user here, but all good advice that can be applied to other DAWs as well 😊
Thanks for saying so, that's good to hear :)
Usually my Scarlet peaks (red) before Cubase, meaning I have to reduce the input level on the audio interface until it stays green, and then after that the level is usually quite low in Cubase. I use both active and passive bass, but both of them go through a preamp and a DI before reaching the audio interface.
I get around that issue by having my Boss GT-100 feed the Focusrite. It allows me to use the Boss preamp to get the signal to just the right level such that 12 o'clock on the Focusrite = nice & warm in Cubase. I really hate having a weedy signal coming into Cubase :)
Very interesting that you record your mono inputs into a stereo track. What is Cubase doing in that case? Is it just duplicating the mono input signal on both left and right channels of the track? Any drawback with this? What does it bring to you? Can you use stereo effrects that would not work otherwise?
The biggest drawback (which I'm kicking myself for not mentioning in the video) is that when you render the track it's rendered in stereo. As for what's going on under the hood, I'm not sure. if you think of it in terms of audio being audio, and the concept of "stereo" being largely irrelevant as far as the ones and zeroes are concerned, I don't think it matters. I presume the mono recording "lives" in the same audio bucket that it would do if it was on a mono track, and Cubase takes care of the panning implicitly, in the same way that a stereo guitar MFX will do if you only plug in one of the 2 inputs
Do you have audio treatment in your room? Or do you use some kind of audio correction plugins like SonarWorks?
No, and no. To be absolutely honest I think my room sounds pretty wonderful! It's a converted garage, with a big vaulted roof and huge wooden beams everywhere. It even has 45 degree angles in its corners! (My house's shape is very weird...) I used to obsess about stuff like that, till watching a video of Tom Holkenborg saying pretty much what I just did - he thought his room sounded great, so never bothered treating it.
I have never understood what the Monitor button does. I never use it, and I can hear myself perfectly when I record. Is it only when you add effects during the recording, and you want to hear them? What if the audio interface has a direct monitoring option? How do they work together?
How are you listening to yourself when you record? I, for instance, "monitor" via the headphone out of my Focusrite, so I need Cubase to route (i.e. have Monitor enabled) the live signal to the output, otherwise I can't hear it. Your other questions are the crux of the whole issue - you only need to enable Monitoring if you don't have another implicit way to do the job.
When combining Cubase and OBS I'm using VoiceMeeter.
I was never able to get it to work. I had hideously unusable latency, despite my very best efforts, and in the end just gave up. If it hadn't been for working out how to use the Control Room I might have persisted my way to a solution, but happily my set-up now is everything I need it to be
@@OneManAndHisSongs Works well for me, I use it everyday even outside of cubase. But my next audio card will have a loopback function.
Ironically, the Focusrite advertises itself as having one, but I couldn't get that to work either. Maybe I'm just stupid.
Aren't you "polluting" your control room with all those voice-related inserts? EDIT: I just discovered in this video there are Control Room presets 🙂. Now I undertand you can easily switch between CR confiigs and you don't have to worry about "polluting" the CR with extra inserts.
Indeed :) I wouldn't put all that stuff on a sung vocal track. It just for RUclips convenience.
Way wrong, - 18, -12, is fine both, No problem to make it hotter i cubase, and noise, signal ratio is way fine, its not about getting it hot as possible in the recording. All the pro studios doing that, so dont beliewe anything, and look take a look at some sources, that do it pro everyday, and mix and record the top artists on daily basis.😉
Fair enough. The only reply I'd give is that here's no harm at all in recording at the levels I do. As long as you don't exceed zero, it doesn't matter at all.
Isn't this -18dB thing mostly applicable when using external hardawre effects? That's what I've read in books and articles.
@@OneManAndHisSongs you get problems when you put plugins process, afterworths, you need headroom for processing, and mastering, a lot of plugins is made to only get -18, on their input to work the right way, because -18 in digital is the same as 0 in analog, you have to tjek what level your different pluing is made to operate at there input stage.😉