Thanks for the kind words David! You're more than welcome!

Awesome, thank you!

Always welcome

Any time!

It's a great plugin!

LOL! Thanks!

There you go!

This one: kzfaq.info/get/bejne/Z9dzlbJ7tq_KhJs.html

Welcome

You're welcome!

Better late than never :)

I just watched this video, but being 2yo now, Chris is no doubt busy working on his new stuff. Content creator gotta keep feeding the YT monster… Anyway, I was thinking the same. I know it is sometimes appropriate to tame a peaky/highly dynamic input with a compressor, in order to give the average level a leg up, so I do it sometimes. On that note, a limiter might also be useful as a safeguard, considering a peaked signal is only good for the rubbish bin. In an ideal world you should never trigger the limiter, but if you do just hit it once or twice during the best take of the day, say the singer just got really into it at the same time as moving a fraction too close to the mic, it might still be ok. Without a limiter, it will be ruined. With a limiter, it might not. You get what I mean.

Much appreciated!

Yep!

It's up to you, Supervision works well.

Thanks

Pre Gain is not useful when Recording. It's good to work with if you need to Gain Stage before starting your Mix, but not when recording

You got it!

This is what I do, however the Meter reading on a channel is Peak Level opposed to VU that is average level. So use the -18 point on your Peak Level channel as a point you should not get under.

@@mixdownonline What about very quiet sounds, e.g. tiny bells or whispered vocals? Would you record these too at -18?

They do refer to Average Levels like VU metering so yes, RMS.

Here are a couple of videos that can help outkzfaq.info/get/bejne/iNt_oZmiqtmYqmg.html kzfaq.info/get/bejne/i7CTo6-JsK-ReIk.html Hope that helps!

Yes, but like I explained in this video, the -18 dbfs when Gain Staging is always the average level and not the Peak level.

Not sure about that one since they made huge upgrades from C7 and up

Hi Chris, Greg Ondo with Cubase said 6.5 will stay intact and still be a separate program. Also,If a track part, for instance a guitar solo recorded mid-song, and is there in the middle and it is batch exported with other tracks in the project which are 'connected' to the start of the song, then, when imported to say, another DAW, it does not line up in the proper 'solo' location on the grid. Should I pull the track and stretch it to the beginning to avoid this , or other method. Thanks for response, Don Miller CB 6.5 soon to be CB11

Never tried ST1 yet but heard only good things :)

@@mixdownonline well, the last two versions of ST1 were developed with people who was earlier working in the Cubase developement team. Working with ST1 4 & 5 starts to feel like working with Cubase XD.

I just saw this video (2yo now) and noticed the recent questions haven’t been answered. Here’s my offering… If you are using a guitar plugin, like an amp sim, it’s probably better to record the direct input (DI) and put the plugin later in the signal chain (and monitor it while you record, so that you still hear the desired tone while you track). That way you have heaps more options afterwards, like completely changing the plugin settings to different amp, cabs, etc without having to re-record.

@@RogerBadgerDSFlyer that makes sense. Thanks

Contact Steinberg support

I like to see the -18dbfs point on my faders so I know I don't want to get below that point. That's basically it :)

You're welcome!

:)

All Audio Recording

Bit rate has nothing to do with sound quality. It has to do with the amount of Dynamic Range you have :-)

Yes it is!

It's my pleasure!

Totally agree, that's what I share in this video. We're saying the same thing. Stay around -18 dbfs RMS (Not Peak) which is about 0VU (average level). The reality is that most home studio musicians don't record or mix with VU Meters so my version of it is to use Peak and RMS Meters correctly. The importance of knowing the difference between Peak and Averarage metering levels in Digital Recording is key here IMO. You can have a vocal that gets peaks at -10dbfs Peak level and will not necessarily go above 0VU or -18 dbfs RMS. I record with preamps that have VU Meters so yes, I stay around 0Vu unless I want that nice saturation on my recordings that can sound very good. As far as the Bit Rate thing, that's one of those debates among credible audio engineers that I'm not gonna get into, I don't record at -60 so I don't care much ;-) Thanks for sharing your thoughts! I appreciate that :)

@@mixdownonline Yes, my bad for the tone. I realize it comes across like I disagree with your video but I see we are on the same page. I get a little heated (to say the least) in expressing how important it is to operate the gear at 0VU avg and how digital " level " is a tragedy of confusion for so many new and veteran engineers bc they mistakenly (thru no fault of their own) apply their knowledge of metering from analog world to digital world. And with all the misinformation out there it gets lost that the only purpose of digital metering is to keep an eye on overs, make sure signal is passing, and just visual comfort. I try to close the gap by explaining (poorly unfortunately) that the only levels and meters that are important to the sound one is getting are the ones in real life, aka analog levels of the sources being recorded and the optimal use of any and all gear in your chain that is before (or after) the digital converters. It should be in every DAW manual that the meters are just to monitor safety of your digital overs and encoding and stress how important it is to have at least one VU meter for AVG RMS level in your chain, both your signal path and your monitoring path. (Think about how unfortunate it is how much good content gets processed based on monitor levels that are feeding Line level input at near 0dBfs output just destroying whatever the op amps are in between the D/A and the speakers! Totally squashed and distorted even if the actual digital files are perfect. Most monitoring systems can't reproduce transients that are like +20dB over 0VU RMS. Think of all the affordable DAW hardware out there for home studios that make possible AMAZING recordings and mind boggling technology that 25 years ago cost 25k, but that the manuals don't express clearly that you can't be sending 0dBFs RMS (!!!) to your D/As for monitoring. You of course want the INTERNAL DIGITAL MIXER to be nice and hot and highly dynamic for your 24bit mix file but it gets lost in translation that the CONVERSION process to listen to your work must be scaled down in voltage a TON before it exits those D/As . It's all very confusing because digital wasn't introduced to the market properly. They were worried no one would adopt or be scared of it so they tried to market it as " hey it's analog but better! " SO everyone just applied their analog knowledge to the digital process. Which the two have nothing in common. They should have made RMS metering a LAW in every DAW from the early days. I hope you get that I'm just very passionate about audio recording and reproduction and wish I could get the message out that the marketing was false and just stick to analog guidelines and you'll be fine. I really like your content and didn't mean to sound like I was renting at you or your work. It's one of the best, clear descriptions of level setting. I want everyone to be able to get the most out of their gear and DAWs and I believe this observe 0VU concept is one of the most crucial points to grasp, at every point in a recording and reproduction chain. Thank you for the stimulating conversation! I'm an old school tape guy that means well and wants the best for everyone in modern digital times :)

@@digilifepro No worries, I got that you're passionate about this. Very confusing for a lot. It was for me as well for a long time. I don't have an analog background, I jumped right ITB from the start. Thanks again for sharing your thoughts on this :)

@@mixdownonline cool I'm glad it was possible to see my thoughts beneath the ranty-ness. Haha. Two other big topics for me in the ITB space is how to compensate for processing delay (auto delay compensation can get tricky with certain plugs). And also inter sample peak distortion. Avoiding that really helped my final masters. The Sony Sonnox plugins like the Limiter and the Exciter do wonderful things to prevent this odd digital distortion that can add a slight smear to a mix. Ok I promise in done commenting now. Cheers! 👍🏼

Or you can watch this video and learn and understand how you can record properly ;)

Dude, that is dumb advice.