Great gain-staging coverage although I prefer using the kick drum used in the track to start the levels. Pegging that track between -10 and -6dB usually makes the rest of the tracking and mixing a breeze.....a tip I learned from the late Mike Elliot back in the early days of VST.
Yep, absolutely! Part of the idea behind always using the same kick drum to get started is my first track is often a piano or synth. I might choose a kick until I'm an hour or two into the project.
I just group all the tracks to a slave track and turn it down, 32-bit float, turn the slave track down to give your master track more headroom. Obviously, route your slave to the master bus.
@@stephenpenn9776 Peak is fine assuming you've got some consistency in the performance and compression, etc. Also, monitor that dB range on the master fader of course - not the kick's channel. Build up your mix around this and see how it works for you.
This is probably one of the most relevant videos when it comes to music production. So many useful tips in here! In addition I'd like to share my setup for listening to reference tracks: 1. All reference tracks are loudness matched to each other and then routed into one "Reference" group. This way I can easily level all refs against my song. 2. All tracks in my arrangement are routed into a group called "Pre Master". Here I can do some global processing if needed. 3. The master channel has no insert FX other than utilities like metering or dithering. This ensures I can listen to the reference tracks without having to disable global EQs every time. 4. I enable the option "Solo follows track selection" in the preferences, so I can quickly switch back and forth between the reference group and my pre-master group with one key press. As you said, the ear gets used to a particular sound very quickly, so instant switching is crucial when it comes to comparative listening.
In terms of gain staging, I sometimes use the "magic knob" that each channel has. It is located in the Cubase EQ (equalizer tab in the channel edit window) and labeled with Pre Gain. So you can easily make an overdriven sum quieter without having to touch each track individually. And if the fader of a track is already at maximum, you can add the missing loudness at any time with that Pre Gain knob. Of course, this should not hold someone back from leveling each track at the beginning of a project since Pre Gain sits before the inserts and affects how loud the inserted plugins are driven.
Interesting that... This is the first ever video I have watched about using Cubase though I have been using it since the late 80's. What is interesting is that I do everything the same way as this is laid out with only a few exceptions. 1, I just use markers so I can move the marker a little for prerolling a punch in. That colour idea might be great for some and I actually like it but markers are really great tools to mark parts. That is what they are there for. 2, I don't use any midi or samples so everything is a mic and everything already has the arrangement to play out, so I never use anything more than 2 measures early for a click track. Still, if I need more space I can just select all and drag everything to a new measure. 3, I save everything like suggested however I also save all tracks used on a DVD and then dump all unused tracks for a separate save as my exact mix. I put everything including the mastered wavelab files in the same folder and save all the folders for the album on one double-layer DVD so it is all there. You can't really do that if you have gigs upon gigs of unused audio takes. The most common request that I get for a callback to the project is that artists end up wanting tracks to play to as a solo, duo, etc. 4, I always make sure to use track notes because you never know when you or your client will want to reproduce a sound as close as possible to a previously tracked instrument. I like to know exactly which instrument, what strings, amp, settings, mic, etc. A few notes can really help when you revisit something 30 years later. Regardless of whether or not you like my music, my recordings are never questioned. This kind of workflow is really essential to longevity. Take it from an old timer and listen to this guys advice.
Great video. So reassured by listening to you that I’m not just flailing in the sea of ignorance but gradually working to understand my favourite daw better. Thumb emoji Stuart. Thanks. 😎
Another workflow suggestion i find is using effects buses and group channels.. i.e putting similar parts into groups eg. All BV vocals routed to a BV vocal group channel, all lead electric guitars into a guitar group channel and then processing them all in that channel. You can also save CPU overload by creating a Reverb group, a compressor group or 2, a delay group etc and then route the sends of your group channels above to the ones you require on the channel. Find it saving more CPU and tidier workflow wise. Another workflow suggestion is to group similar items and lock it eg All drum parts grouped as one block (so that it's not easily moveable by accident) and then color that group audio stack so visually you can tell what is what by their groups.
Good documentary / checked at first because already learned most of the points, would recommend to others for the fact you covered lots of the 'silly' or 'necessary' questions about the whole process that many ask on sites and find little answers for, so well done / TREPANIC
Event-based gain staging can be bothersome in some cases. You can add VCA faders to your submixes and a global one before the master fader to bring the levels down for all faders simultaneously, if you need to reduce your master busses RMS level.
Informative in regards to gain stages - may want to include the whole "lower-shelf" proof-of-concept in dealing not only with per channel slider levels/buss levels pushing into the master out. You know, how a higher shelf of all of one's levels with a low master out is also something to be avoided. I would hope to hear your ideas on mixing inside & outside the box - the schools of thought in that regard.
I basically "clean up" as I go because I do not like clutter. Tidying up the tracks during recording downtime gets you to the mixing point much faster.
I'm just coming over and see this question. Open Audio Connections Windows (F4). Add a bus, name it REF for example, assign the same Device Ports as your Stereo Out is assigned to. Create Audiotrack and send it to the REF output. Now you can mute this track and listen to your mix. With the solo button of the REF track you can switch instantly from your mix to the reference track and back.
Alternative if you have cubase pro: Activate the control room, set up a cue mix, make sure the reference track is not assigned to your Stereo Out, activate the cue send for your reference track and then on the right sight in the control room you can switch between your mix and the cue mix (C1). Level matching can be done by adjusting the level of the cue send.
Yannickl96 In the meantime, I found another RUclips video explaining this same technique ... 😊 But Thanks a lot for your kind suggestion !! Works perfectly, by the way !
I produce electronic music (Hardstyle and techno lol yes I know pretty opposite) in general I see what's the main thing that will drive the song... in electronic music is the kick, so I make sure the kick is in a -5/-6 db and the bass/ highs of the kick are in a sweet spot but must important it sounds like a kick from a reference track. After that I will continue with the elements which have more presence in the drops. Also i try to make sure the mid/ side of the groups are good, and if the drop/ chorus sounds (almost) like the reference, the rest of the mix will be doing fine.
Super video Stuart, very practical, will now use kick drum now for gain staging. I'm curious, when the sum of all tracks on your master is circa 0db or -1 db, are you factoring in plugins on the master channel with this? I use Ozone on my master, and aim for around -7 db on the master pre ozone. And then 0db after ozone. Thanks
Thanks for the down to earth video. Do you have a decibel meter in your studio? I have bad tinnitus and it can play tricks over a short 2 hour recording session. I tend to think while tracking that i am behaving myself with levels, Then in the morning i really suffer and have to take days off from recording let alone mixing.
HELP PLEASE!! When i high up the latenzy for mixing, my recorded layers arent synchron any more... What can i do??? I use cubase 10.5 pro, a uad apollo usb interface, windows 10
Great video.... question, when disabling the track for lets say the VST instruments, do you also turn off the actual VST instrument as well? or is disabling just the tracks enough... I turn off the VST instrument but I have never disabled the track... thanks
@@lesslyrics ...Thank you for that..In answering Tim Adams' question you gave me an new insight and raised a question I didn't know I had [what happens at the rack instrument ? ] ! Like my favorite philosopher, Popeye, " I hates myskeries on accounta I can't unnustanns 'em...Ugh Ugh Ugh".
When should I normalize my .wav files on each track? For example, when I record my midi track into it's own audio track, should I normalize it right away then turn the gains down to correctly balance it with the other tracks, or should I wait to normalize my tracks until after I mix all of them together?
Normalizing does not change the _quality_ of an audio signal. With the exception of bass drum and snare, which you often want to be as loud as possible before you send them into plugins, normalizing in my opinion does not help with the mixing. On the contrary, it is more likely that you have to lower the fader afterwards into a range where small fader moves give high volume jumps. Lets take a hihat signal as an example.
Great gain-staging coverage although I prefer using the kick drum used in the track to start the levels. Pegging that track between -10 and -6dB usually makes the rest of the tracking and mixing a breeze.....a tip I learned from the late Mike Elliot back in the early days of VST.
Yep, absolutely! Part of the idea behind always using the same kick drum to get started is my first track is often a piano or synth. I might choose a kick until I'm an hour or two into the project.
I just group all the tracks to a slave track and turn it down, 32-bit float, turn the slave track down to give your master track more headroom. Obviously, route your slave to the master bus.
Is that -10 - 6DB in peak level?
@@stephenpenn9776 Peak is fine assuming you've got some consistency in the performance and compression, etc. Also, monitor that dB range on the master fader of course - not the kick's channel. Build up your mix around this and see how it works for you.
i never figure out why some people hit the dislike button,the guy spent his time to educate as free,at least respect that...
This is probably one of the most relevant videos when it comes to music production. So many useful tips in here!
In addition I'd like to share my setup for listening to reference tracks:
1. All reference tracks are loudness matched to each other and then routed into one "Reference" group. This way I can easily level all refs against my song.
2. All tracks in my arrangement are routed into a group called "Pre Master". Here I can do some global processing if needed.
3. The master channel has no insert FX other than utilities like metering or dithering. This ensures I can listen to the reference tracks without having to disable global EQs every time.
4. I enable the option "Solo follows track selection" in the preferences, so I can quickly switch back and forth between the reference group and my pre-master group with one key press. As you said, the ear gets used to a particular sound very quickly, so instant switching is crucial when it comes to comparative listening.
In terms of gain staging, I sometimes use the "magic knob" that each channel has. It is located in the Cubase EQ (equalizer tab in the channel edit window) and labeled with Pre Gain. So you can easily make an overdriven sum quieter without having to touch each track individually. And if the fader of a track is already at maximum, you can add the missing loudness at any time with that Pre Gain knob. Of course, this should not hold someone back from leveling each track at the beginning of a project since Pre Gain sits before the inserts and affects how loud the inserted plugins are driven.
I do this exact same thing!
Great video - I really like how you guys took the time to show the screen inserts while he speaks! I'm a visual! :)
The 2buss has a pre-gain as well. I'm not sure why this isn't the only thing we need to know regarding gain-staging.
Your videos are such a great help. Thanks
Great video! This is such an under-rated aspect of workflow that is easy to neglect. Thank you!
Useful video. Simple, practical tips. Good stuff!
thank you. your tips are very helpful
Great video - answers a lot of those questions most are afraid to ask :-) Please keep them coming!
One of the best videos I've seen on mixing and production in a long time. Thank you!
Super practical stuff! Thanks!!!!
Thank you, I really love this stuart stuart tutorials, a lot of issue I even struggled with, are pretty well solved by him
Interesting that... This is the first ever video I have watched about using Cubase though I have been using it since the late 80's. What is interesting is that I do everything the same way as this is laid out with only a few exceptions.
1, I just use markers so I can move the marker a little for prerolling a punch in. That colour idea might be great for some and I actually like it but markers are really great tools to mark parts. That is what they are there for.
2, I don't use any midi or samples so everything is a mic and everything already has the arrangement to play out, so I never use anything more than 2 measures early for a click track. Still, if I need more space I can just select all and drag everything to a new measure.
3, I save everything like suggested however I also save all tracks used on a DVD and then dump all unused tracks for a separate save as my exact mix. I put everything including the mastered wavelab files in the same folder and save all the folders for the album on one double-layer DVD so it is all there. You can't really do that if you have gigs upon gigs of unused audio takes. The most common request that I get for a callback to the project is that artists end up wanting tracks to play to as a solo, duo, etc.
4, I always make sure to use track notes because you never know when you or your client will want to reproduce a sound as close as possible to a previously tracked instrument. I like to know exactly which instrument, what strings, amp, settings, mic, etc. A few notes can really help when you revisit something 30 years later.
Regardless of whether or not you like my music, my recordings are never questioned. This kind of workflow is really essential to longevity. Take it from an old timer and listen to this guys advice.
Is this the real Danny Taddei posting here? That is really cool of you. FWIW, I LOVE your music! Thanks for the added advice.
@@enomaihturt9548 Thank you for saying that. I accept compliments where ever I can get them :)
Great value! Also a small thing but I really like the colours of your Cubase setup.
Great video. So reassured by listening to you that I’m not just flailing in the sea of ignorance but gradually working to understand my favourite daw better.
Thumb emoji Stuart. Thanks. 😎
I love Cubase, i love this video... Keep it up.
Same here bro. I’m not switching
Great video! Those tips are coming from the real world and it shows! Been there too and still am... Thanks ;-)
Another workflow suggestion i find is using effects buses and group channels.. i.e putting similar parts into groups eg. All BV vocals routed to a BV vocal group channel, all lead electric guitars into a guitar group channel and then processing them all in that channel.
You can also save CPU overload by creating a Reverb group, a compressor group or 2, a delay group etc and then route the sends of your group channels above to the ones you require on the channel.
Find it saving more CPU and tidier workflow wise.
Another workflow suggestion is to group similar items and lock it eg All drum parts grouped as one block (so that it's not easily moveable by accident) and then color that group audio stack so visually you can tell what is what by their groups.
Good documentary / checked at first because already learned most of the points, would recommend to others for the fact you covered lots of the 'silly' or 'necessary' questions about the whole process that many ask on sites and find little answers for, so well done / TREPANIC
Super useful stuff!
Event-based gain staging can be bothersome in some cases. You can add VCA faders to your submixes and a global one before the master fader to bring the levels down for all faders simultaneously, if you need to reduce your master busses RMS level.
useful. Thanks !
Informative in regards to gain stages - may want to include the whole "lower-shelf" proof-of-concept in dealing not only with per channel slider levels/buss levels pushing into the master out. You know, how a higher shelf of all of one's levels with a low master out is also something to be avoided. I would hope to hear your ideas on mixing inside & outside the box - the schools of thought in that regard.
I basically "clean up" as I go because I do not like clutter. Tidying up the tracks during recording downtime gets you to the mixing point much faster.
Great video ... 1 question : would you care to explain how you setup reference tracks in Cubase, to bypass plug-ins on the master bus ? Thanks !
I'm just coming over and see this question. Open Audio Connections Windows (F4). Add a bus, name it REF for example, assign the same Device Ports as your Stereo Out is assigned to. Create Audiotrack and send it to the REF output. Now you can mute this track and listen to your mix. With the solo button of the REF track you can switch instantly from your mix to the reference track and back.
@@lesslyricsThat's a great solution ... Thanks a lot !!
Alternative if you have cubase pro: Activate the control room, set up a cue mix, make sure the reference track is not assigned to your Stereo Out, activate the cue send for your reference track and then on the right sight in the control room you can switch between your mix and the cue mix (C1). Level matching can be done by adjusting the level of the cue send.
Yannickl96 In the meantime, I found another RUclips video explaining this same technique ... 😊 But Thanks a lot for your kind suggestion !! Works perfectly, by the way !
I produce electronic music (Hardstyle and techno lol yes I know pretty opposite) in general I see what's the main thing that will drive the song... in electronic music is the kick, so I make sure the kick is in a -5/-6 db and the bass/ highs of the kick are in a sweet spot but must important it sounds like a kick from a reference track. After that I will continue with the elements which have more presence in the drops.
Also i try to make sure the mid/ side of the groups are good, and if the drop/ chorus sounds (almost) like the reference, the rest of the mix will be doing fine.
Super video Stuart, very practical, will now use kick drum now for gain staging. I'm curious, when the sum of all tracks on your master is circa 0db or -1 db, are you factoring in plugins on the master channel with this? I use Ozone on my master, and aim for around -7 db on the master pre ozone. And then 0db after ozone. Thanks
Most of the gain from comes from the maximiser and limiter on ozone,
Thanks for the down to earth video. Do you have a decibel meter in your studio? I have bad tinnitus and it can play tricks over a short 2 hour recording session. I tend to think while tracking that i am behaving myself with levels, Then in the morning i really suffer and have to take days off from recording let alone mixing.
Nice one
HELP PLEASE!!
When i high up the latenzy for mixing, my recorded layers arent synchron any more...
What can i do???
I use cubase 10.5 pro, a uad apollo usb interface, windows 10
Great video.... question, when disabling the track for lets say the VST instruments, do you also turn off the actual VST instrument as well? or is disabling just the tracks enough... I turn off the VST instrument but I have never disabled the track... thanks
@@lesslyrics ...Thank you for that..In answering Tim Adams' question you gave me an new insight and raised a question I didn't know I had [what happens at the rack instrument ? ] ! Like my favorite philosopher, Popeye, " I hates myskeries on accounta I can't unnustanns 'em...Ugh Ugh Ugh".
No need to turn off the instrument - disabling is enough!
@@stuartstuart1058 thanks
At what level was the kick drum that+s used as a starting point?
Generally, it's hitting the master bus at about -6db.
is there a difference between disable and freeze?
Yes of course! You still use a freezed track while a disabled track is no longer in use.
👍👍👍👍
When should I normalize my .wav files on each track? For example, when I record my midi track into it's own audio track, should I normalize it right away then turn the gains down to correctly balance it with the other tracks, or should I wait to normalize my tracks until after I mix all of them together?
Normalizing does not change the _quality_ of an audio signal. With the exception of bass drum and snare, which you often want to be as loud as possible before you send them into plugins, normalizing in my opinion does not help with the mixing. On the contrary, it is more likely that you have to lower the fader afterwards into a range where small fader moves give high volume jumps. Lets take a hihat signal as an example.
💥👊👊👀
I like your accent haha 😃