I just want to say a huge thank you Chris.... I have struggled for years with headphones, sonar works never gave me an edge, but creating pro q 3 profiles using autoeq for all my headphones has finally got me somewhere in the ballpark with my mixes and sound design, I cant thank you enough!
Sir thank you so much, am a music producer from Nigeria, I have learned a lot of things from you, watching your videos have changed my life greatly I will forever love and respect you sir, my mix now sound far better and bigger than what I used to hear in my studio some years ago, am grateful sir thank you so much you are more than a teacher to me... Am Mr C2 Christo Beat (C2 Mix) am very happy sir..
I started using the Equalizer APO along side Peace (just a better interface for APO) after your first video about the AutoEq and I'm getting great results! And inside my DAW, I tested using both the EQ curve using a simple parametric EQ and using a zero latency impulse response loader (like NadIR) in stereo mode and I'm getting satisfying results with the IR that AutoEQ generates! Thanks for the tips!
I was just about mentioning Peace, it´s really cool. Inside the DAW we also have Toneboosters Morphit to calibrate headphones which includes Harman curve.
I also suggested realphones. The system wide version lets you create passthru outputs. I have nuendo control room send out 2 signals. Signal 1 feeds my speakers and signal 2 has a control room with my eq and crosstalk for headphones. Then I use realphones system wide to send channel 1 and 2 to my speakers with no processing and signal 3 and 4 of my computers audio with its correction. And for computer audio I have real phones pass
I'd like to make a comment on using plugins in the ControlRoom. The insert slots you show, are common for all outputs in the ControlRoom. This of cause no good if you have multiple monitors. You don't want to use the Genelec EQ-profile, when you're listening to your Focals. Fortunately, (you neglect to mention) you can insert separate plugin chains for each monitor output you're programmed. If one monitor output feeds your Genelecs, and another feeds your Focals, you can always be sure that you're using the correct EQ-profile when you're switching monitors. Also, everything you say is valid for Nuendo as well. What do I use? Currently, I using SonarWorks. But I plan to switch to the ARC Studio hardware.
I switch from Sonarworks to ARC Studio, however, the ARC Studio if for one set of studio monitors, so if you work with 2 sets, you will need to switch calibration profile every time you switch between monitors, or buy 2 ARC Studio units, which can be a good solution since they're not that expensive.
I use ControlRoom also and love it for sending audio to multiple audio interfaces when listening to system audio. I just wish it had more plugin slots for each output. If I am missing something, please let me know.
@@mixdownonline Yes, that's the thing. The ARC hardware is priced in such a way that that is fanacially viable to buy multiple hardware boxes. This is something that cannot be said about the Trinov!
@@alsoulmusic Well, you've eight slots each for the phones, the individual monitor outputs and the individual Cue mixes. If that's not enough, I'd say you are going a bit overboard with your monitoring plugins! 😉
@@svenisaksson3970 I am not talking about Cubase. When I am mixing in cubase it is fine because I have enough inserts and outputs so I am fine there. I am talking about using Ginger Audios Caster for system audio (Apple Music and such). I don't know of a way to load more than one plugin on any output. I am using RealPhones for that plugin so it works but if I wanted to use sound id and CanOpener I'm screwed.
Roque Amoeba has another piece of software called Loopback that I can’t live without. I have multiple pairs of headphones that mix, monitor and live with. I have three interfaces attached to my mac (UAD Apollo, RME Babyface pro and RME ADI-2 DAC). I keep a different pair of headphones attached to each device and rarely switch them out. Loopback lets me create as many audio devices as I want that will show up in Cubase. I can also define as many input output pairs as I want. Each output goes to a different interface. Because Cubase Control room is awesome, I can create a cue (I think that is right) for each output and change which headphone I want to hear the music go to from Cubase. The extra added plus is that there are inserts (above where you had you plugins inserted) that you can put your headphone correction software in. So when you change the cue it while have the correct eq and cross feed for each headphone ready to go. I absolutely love this set up. I don’t use this setup when I record. I just set the Apollo as the recording device but when I am mixing I switch to the device that was set up in loop back. It really does allow some pretty wild routing between any audio output and multiple audio devices.
That looks like a nice setup. I also have Loopback, but I don't use it much, but to be fair, I didn't take the time to experiment with it much. Thanks for your comment!
If you have a Mac, you can also do something like that without Loopback. In Audio MIDI Setup, you can create a so called "Aggregate Device", for which you can select multiple audio interfaces to combine into a single one. You can then select that device in Cubase as your output and you will see all outputs from all your interfaces. Of course you can just select to show the outputs you want to see, and you can even rename them.
Very helpful video! In REAPER we have the Monitoring FX Chain which is super-useful! I never work without it - I use Blue Cat Audio's Re-Head as well as other utility plugin.
Cubase Users: You can config the CR with an extra HP output. In this case you can insert plugins especially just for your HP. Also you can place plugins after fader in the mixbus.
Hey Chris, I bought Wavelab 12 Pro. Any chance of doing more tutorials on it, for e.g., I have made a montage of separate tracks for one song, and I want to export/render them out as individual tracks again. I follow the render regime and they all end up as one mixed song. Would be nice to know.
Thanks for this informational Video Chris! I have another question, where did you get your Bluefilter Glasses? I need a new pair and yours looks great !
Hey Chris, I've just recently jumped into the world of room and headphone calibration (following some signicant upgrades to my studio acoustic treatment). To be honest, I'm still trying to find a workflow that isn't a big pain in the arse...either productivity-wise or isn't 'buggy' when switching to Cubase. I've created a room calibration profile for use inside the SoundID Reference app (i.e., systemwide installation) but I can't get my Steinberg UR44 interface to play nice with it, but my Focusrite Solo works fine. Then trying to create a custom EQ curve for my headphones that lives outside SoundID is another level complexity when applying it on a systemwide basis. And, of course, the Sonarworks guidance documentation is pretty awful and not very useful in troubleshooting these sorts of real world problems.
Regarding placing plugins in Control Room I prefer creating extra monitor outputs in "Audio connections-Control room" and placing there the room correction or room emulation plugins and also for headphones correction so I can easily switch between them,(shown as A B C D) also leave one empty so that I can listen without any correction.
That only works if you have multiple outputs for different listening devices. Many engineers however have a single output and then use an external monitor controller to switch between all of them.
@@diegoalejo15 ... you may, but in that case there is no difference to just putting them to the overall inserts in the control room as in this video. The point of using output speciffic inserts is that, as the name says, they are per output, so whenever switching outputs (A, B, C, etc), the inserts also automatically change to the coresponding ones. You cannot do this if you just have one output.
@@AlexLapugean the point is that I can have a room correction plugin in A , another correction plugin in B, headphones correction in C and nothing in D to hear without correction and I can switch them with just one click without having to enable and disable plugins, very useful i.e. if I switch from monitors to headphones and each has it´s own correction.
@@diegoalejo15 got you. Although, can you create multiple outputs when you just have one physical output pair? I tried, and i cannot select the same pair of outputs again, it tells me they are already in use and if I want to reassign them. Leaving the output with nothing selected also doesn’t work as no sound comes out when you switch to it.
Don't all headphones somewhat already have the Harman curve built into them by the manufacturer so that they sound more coloured (and pleasant) on purpose? Sonarworks will then neutralise that, to an extent, so that the headphone make & model characteristic is removed, giving a flat response that should translate better to the majority of speakers and other headphones?
Sonarworks (rather SoundID since some time ago already) does not make the headphones response flat. It does show a flat target in the equalizer, but that I suspect to just look the same as the one for the speakers, it is not actually flat, they use something similar to Harman target, it is confirmed by them. But I don't like it when I have no idea what the curve looks like, and especially how detailed it is. For example you really don't want to try to EQ all small bumps, just general gentle curves, to get the general ballance, while keeping the natural characteristic of the headphone.
Hi Chris , I insert a different instance of Sonarworks for monitors, headphones and my Atmos rig. I then only need to switch A,B,C monitor source on Cubase. When using these plugins system-wide, will I have to bypass them when in Cubase , so as not to have them twice? Or when in Cubase , it will disregard the system- wide ? Thanks in advance and love your videos, Peter
It's funny that this is now becoming a trend in Q4-2024 now 😂 Because we never had these problems in the 1970s, 1980s or 1990's. But now all of a sudden, we have these so-called headphones or studio problems. Even though hundreds of thousands of music songs have been released prior to this that are multi-platinum and Grammy award-winning records along with, film industry music also released on major films. So why are we having these problems now? 🤷♀
Great Video, Thanks Chris. I now use the Pro-Q 3 Curve in the Cubase CR fine. I also use SoundSource and with Keyboard Maestro i have made a macro that activates and deactivates Pro-Q3 in SoundSource automatically whenever i use and quit Cubase so that i even don't need tot do it my self #beingsmartlazy :-)
Hello Chris ..Thanks for sharing this info about correcting your headphones.I just wanted to ask for a favor....When you put in the headphone details in it gives an option to download it as a convolution Eq. I have done this and level adjusted it in my convolver ..I was wondering if you could try this for yourself and compare the results against the Eq version .How does it compare in your opinion when mixing does one give a better result than the other after using it when mixing.If you could try it out i would be really interested in what you think....
I added the EQ to my CR plugins after watching your last video but literally nothing changed, even if i made huge EQ changes - Am i doing something wrong? I could still change my mix, it just seemed like the plugins weren't working on the CR side... The only thing I have setup for the control room is a cue mix for comparing a reference track
@@mixdownonline I enjoyed your CR trick (some years ago video). I also have MNotepad there for notes (checklist from your course). And ISOL8 also in CR. Based from the hints of your mastering course regarding MB monitoring :-).
I'm having a real hard time figuring out how exactly I can connect my stereo tube compressor to my Presonus Studiolive mixer so that I can use it on my main buss in Cubase 13 Pro. Does anyone have any idea at all if this is even possible?
In the previous video it's explained that Q of parametrical EQ on autoeq site must be multiplied by 1.41 in Pro-Q3, and that's it. You can use it from now on.
@@mixdownonline Yeah, grew up on Cubase. Was too time consuming. But when you went through all the efforts, and it becomes automatic to do all these diving, it might be rewarding.
@@R1PPA-C Fully, I've learned a lot with Cubase from the start. Some stuff, I will never need. I learned as well, that Studio One is way more fast in getting work done. I do miss the original option in Cubase to sent "Setup" to my synths though. These bits of info that tell connected synths which program to play.
@@oupahens9219 I mean there's a lot on cubase don't touch..but that's just perfect user, I know some classical composer's that use so many functions in cubase It's bewildering
I have the EQ on the stereo out channel. After the mixbus. When I render my mixes, I just mark the mixbus.
I just want to say a huge thank you Chris....
I have struggled for years with headphones, sonar works never gave me an edge, but creating pro q 3 profiles using autoeq for all my headphones has finally got me somewhere in the ballpark with my mixes and sound design, I cant thank you enough!
in studio One is it the Listen bus instead Control Room
Oh, THAT’s how control room can be used. Thanks Chris!
You're welcome! Make sure you watch my other Control Room videos :)
ruclips.net/p/PLHfS_0liDLIOSG1CcMx-96uypMJE1clrb
Sir thank you so much, am a music producer from Nigeria, I have learned a lot of things from you, watching your videos have changed my life greatly I will forever love and respect you sir, my mix now sound far better and bigger than what I used to hear in my studio some years ago, am grateful sir thank you so much you are more than a teacher to me... Am Mr C2 Christo Beat (C2 Mix) am very happy sir..
I started using the Equalizer APO along side Peace (just a better interface for APO) after your first video about the AutoEq and I'm getting great results! And inside my DAW, I tested using both the EQ curve using a simple parametric EQ and using a zero latency impulse response loader (like NadIR) in stereo mode and I'm getting satisfying results with the IR that AutoEQ generates! Thanks for the tips!
I was just about mentioning Peace, it´s really cool. Inside the DAW we also have Toneboosters Morphit to calibrate headphones which includes Harman curve.
That's good to know, thanks for your comment!
Never heard of Toneboosters and Morphit, I'll check them out, thanks!
Good video topic. I’m still a car test guy. That’s where I listen to most of my music.
I also suggested realphones. The system wide version lets you create passthru outputs.
I have nuendo control room send out 2 signals. Signal 1 feeds my speakers and signal 2 has a control room with my eq and crosstalk for headphones.
Then I use realphones system wide to send channel 1 and 2 to my speakers with no processing and signal 3 and 4 of my computers audio with its correction.
And for computer audio I have real phones pass
I'd like to make a comment on using plugins in the ControlRoom. The insert slots you show, are common for all outputs in the ControlRoom. This of cause no good if you have multiple monitors. You don't want to use the Genelec EQ-profile, when you're listening to your Focals.
Fortunately, (you neglect to mention) you can insert separate plugin chains for each monitor output you're programmed. If one monitor output feeds your Genelecs, and another feeds your Focals, you can always be sure that you're using the correct EQ-profile when you're switching monitors.
Also, everything you say is valid for Nuendo as well.
What do I use? Currently, I using SonarWorks. But I plan to switch to the ARC Studio hardware.
I switch from Sonarworks to ARC Studio, however, the ARC Studio if for one set of studio monitors, so if you work with 2 sets, you will need to switch calibration profile every time you switch between monitors, or buy 2 ARC Studio units, which can be a good solution since they're not that expensive.
I use ControlRoom also and love it for sending audio to multiple audio interfaces when listening to system audio. I just wish it had more plugin slots for each output. If I am missing something, please let me know.
@@mixdownonline Yes, that's the thing. The ARC hardware is priced in such a way that that is fanacially viable to buy multiple hardware boxes. This is something that cannot be said about the Trinov!
@@alsoulmusic Well, you've eight slots each for the phones, the individual monitor outputs and the individual Cue mixes. If that's not enough, I'd say you are going a bit overboard with your monitoring plugins! 😉
@@svenisaksson3970 I am not talking about Cubase. When I am mixing in cubase it is fine because I have enough inserts and outputs so I am fine there. I am talking about using Ginger Audios Caster for system audio (Apple Music and such). I don't know of a way to load more than one plugin on any output. I am using RealPhones for that plugin so it works but if I wanted to use sound id and CanOpener I'm screwed.
Thanks for this clarity
Of course!
Roque Amoeba has another piece of software called Loopback that I can’t live without. I have multiple pairs of headphones that mix, monitor and live with. I have three interfaces attached to my mac (UAD Apollo, RME Babyface pro and RME ADI-2 DAC). I keep a different pair of headphones attached to each device and rarely switch them out. Loopback lets me create as many audio devices as I want that will show up in Cubase. I can also define as many input output pairs as I want. Each output goes to a different interface. Because Cubase Control room is awesome, I can create a cue (I think that is right) for each output and change which headphone I want to hear the music go to from Cubase. The extra added plus is that there are inserts (above where you had you plugins inserted) that you can put your headphone correction software in. So when you change the cue it while have the correct eq and cross feed for each headphone ready to go. I absolutely love this set up. I don’t use this setup when I record. I just set the Apollo as the recording device but when I am mixing I switch to the device that was set up in loop back. It really does allow some pretty wild routing between any audio output and multiple audio devices.
That looks like a nice setup. I also have Loopback, but I don't use it much, but to be fair, I didn't take the time to experiment with it much. Thanks for your comment!
If you have a Mac, you can also do something like that without Loopback. In Audio MIDI Setup, you can create a so called "Aggregate Device", for which you can select multiple audio interfaces to combine into a single one. You can then select that device in Cubase as your output and you will see all outputs from all your interfaces. Of course you can just select to show the outputs you want to see, and you can even rename them.
Very helpful video! In REAPER we have the Monitoring FX Chain which is super-useful! I never work without it - I use Blue Cat Audio's Re-Head as well as other utility plugin.
Cubase Users:
You can config the CR with an extra HP output.
In this case you can insert plugins especially just for your HP.
Also you can place plugins after fader in the mixbus.
Note for Win User!
Load and use Equalizer APO, Peace Equalizer with interface Equalizer APO looks nice
Hey Chris, I bought Wavelab 12 Pro. Any chance of doing more tutorials on it, for e.g., I have made a montage of separate tracks for one song, and I want to export/render them out as individual tracks again. I follow the render regime and they all end up as one mixed song. Would be nice to know.
Thanks for this informational Video Chris! I have another question, where did you get your Bluefilter Glasses? I need a new pair and yours looks great !
They look like Bluefilter Glasses, but they're not. They do shade when I go outside, though. Maybe that's why they look like Bluefilter Glasses.
Hey Chris, I've just recently jumped into the world of room and headphone calibration (following some signicant upgrades to my studio acoustic treatment). To be honest, I'm still trying to find a workflow that isn't a big pain in the arse...either productivity-wise or isn't 'buggy' when switching to Cubase. I've created a room calibration profile for use inside the SoundID Reference app (i.e., systemwide installation) but I can't get my Steinberg UR44 interface to play nice with it, but my Focusrite Solo works fine. Then trying to create a custom EQ curve for my headphones that lives outside SoundID is another level complexity when applying it on a systemwide basis.
And, of course, the Sonarworks guidance documentation is pretty awful and not very useful in troubleshooting these sorts of real world problems.
Regarding placing plugins in Control Room I prefer creating extra monitor outputs in "Audio connections-Control room" and placing there the room correction or room emulation plugins and also for headphones correction so I can easily switch between them,(shown as A B C D) also leave one empty so that I can listen without any correction.
That only works if you have multiple outputs for different listening devices. Many engineers however have a single output and then use an external monitor controller to switch between all of them.
@@AlexLapugean no, you may have just one pair.
@@diegoalejo15 ... you may, but in that case there is no difference to just putting them to the overall inserts in the control room as in this video. The point of using output speciffic inserts is that, as the name says, they are per output, so whenever switching outputs (A, B, C, etc), the inserts also automatically change to the coresponding ones.
You cannot do this if you just have one output.
@@AlexLapugean the point is that I can have a room correction plugin in A , another correction plugin in B, headphones correction in C and nothing in D to hear without correction and I can switch them with just one click without having to enable and disable plugins, very useful i.e. if I switch from monitors to headphones and each has it´s own correction.
@@diegoalejo15 got you. Although, can you create multiple outputs when you just have one physical output pair? I tried, and i cannot select the same pair of outputs again, it tells me they are already in use and if I want to reassign them. Leaving the output with nothing selected also doesn’t work as no sound comes out when you switch to it.
Any possibility to do this in Logic Pro X without having to spend arond $50 for Soundsource?
Hi Chris are you still using the Heddphone 2 these days?
Definitely, yes!
The new Universal Audio Apollo G2 interface will have support for SoundID Reference room and headphones EQ curve on the monitor outputs
That's interresting!
If you use RME interfaces they already added SoundID support like a month ago in TotalMix.
Don't all headphones somewhat already have the Harman curve built into them by the manufacturer so that they sound more coloured (and pleasant) on purpose? Sonarworks will then neutralise that, to an extent, so that the headphone make & model characteristic is removed, giving a flat response that should translate better to the majority of speakers and other headphones?
Sonarworks (rather SoundID since some time ago already) does not make the headphones response flat. It does show a flat target in the equalizer, but that I suspect to just look the same as the one for the speakers, it is not actually flat, they use something similar to Harman target, it is confirmed by them. But I don't like it when I have no idea what the curve looks like, and especially how detailed it is. For example you really don't want to try to EQ all small bumps, just general gentle curves, to get the general ballance, while keeping the natural characteristic of the headphone.
Hi Chris , I insert a different instance of Sonarworks for monitors, headphones and my Atmos rig. I then only need to switch A,B,C monitor source on Cubase. When using these plugins system-wide, will I have to bypass them when in Cubase , so as not to have them twice? Or when in Cubase , it will disregard the system- wide ? Thanks in advance and love your videos, Peter
If you use ASIO and the systemwide Sonarworks is not in ASIO mode, it's bypassed by Cubase.
@@DaveChimnythank you.
been looking at eqMac for system-wide EQing, has anyone tried it?
It's funny that this is now becoming a trend in Q4-2024 now 😂
Because we never had these problems in the 1970s, 1980s or 1990's. But now all of a sudden, we have these so-called headphones or studio problems.
Even though hundreds of thousands of music songs have been released prior to this that are multi-platinum and Grammy award-winning records along with,
film industry music also released on major films. So why are we having these problems now? 🤷♀
Great Video, Thanks Chris. I now use the Pro-Q 3 Curve in the Cubase CR fine. I also use SoundSource and with Keyboard Maestro i have made a macro that activates and deactivates Pro-Q3 in SoundSource automatically whenever i use and quit Cubase so that i even don't need tot do it my self #beingsmartlazy :-)
The harmon curve looks a lot like the freq graph of ns10s
Hello Chris ..Thanks for sharing this info about correcting your headphones.I just wanted to ask for a favor....When you put in the headphone details in it gives an option to download it as a convolution Eq. I have done this and level adjusted it in my convolver ..I was wondering if you could try this for yourself and compare the results against the Eq version .How does it compare in your opinion when mixing does one give a better result than the other after using it when mixing.If you could try it out i would be really interested in what you think....
I added the EQ to my CR plugins after watching your last video but literally nothing changed, even if i made huge EQ changes - Am i doing something wrong? I could still change my mix, it just seemed like the plugins weren't working on the CR side...
The only thing I have setup for the control room is a cue mix for comparing a reference track
Make sure your outputs are routed trough the Control Room and not through the usual output section on the cubase I/O setup :)
Waves Nx in CR worked for me.
That's great!
@@mixdownonline I enjoyed your CR trick (some years ago video). I also have MNotepad there for notes (checklist from your course). And ISOL8 also in CR. Based from the hints of your mastering course regarding MB monitoring :-).
I'm having a real hard time figuring out how exactly I can connect my stereo tube compressor to my Presonus Studiolive mixer so that I can use it on my main buss in Cubase 13 Pro. Does anyone have any idea at all if this is even possible?
Read forums. Someone has definitely posted about that.
What version of cubase 13 are you using?
He"s using 13 Pro. Same as me.
13.0.41
Can someone make some presets for ProQ3? I need one ATH-M50x and one for LCD-X
Thanks in advance, lazy me
Do u have the LCD-X Creators version? (2021)
In the previous video it's explained that Q of parametrical EQ on autoeq site must be multiplied by 1.41 in Pro-Q3, and that's it. You can use it from now on.
Hello Guys, anyone here who knows, how to Crossfeed on Rme Room Eq?
From what I know, it's not on the Room EQ itself, but an option to activate on Totalmix. But I don't own an RME interface.
Jeez, Cubase is difficult. Just move to Studio One.
S1 is a good DAW, but nothing beats Cubase for me, anyways ;)
@@mixdownonline Yeah, grew up on Cubase. Was too time consuming. But when you went through all the efforts, and it becomes automatic to do all these diving, it might be rewarding.
Things are only difficult before you've learnt them...
@@R1PPA-C Fully, I've learned a lot with Cubase from the start. Some stuff, I will never need. I learned as well, that Studio One is way more fast in getting work done.
I do miss the original option in Cubase to sent "Setup" to my synths though. These bits of info that tell connected synths which program to play.
@@oupahens9219 I mean there's a lot on cubase don't touch..but that's just perfect user, I know some classical composer's that use so many functions in cubase It's bewildering