@@preciseaudioblog thanks so much! No live room or iso booth here. I had both in my last studio, so it took a bit of adjusting and figuring out how to best use the new space. I have plans to eventually build an iso booth here, but it’s not a priority at the moment. So far I’ve been happy with the current results. Only downside is that I miss not having to wear headphones for an entire session haha. -Justin

@ Thank you 👍

@@libtekk the issue is that the auto detection isn’t accurate. Sometimes it detects it before the start of the hit and other times after the start of the hit. This in turn causes phasing issues on many of the hits when blending in samples with a live performance. Manually aligning hit points, although the process is longer, is the most accurate way to do this. In my experience, it actually saves time though because you don’t have to listen and sort through the entire track in detail to determine what is phase accurate, what isn’t, how much to adjust inaccuracies, etc. Just go through the steps once and you know it’s done right.

@@fortheages1 awesome and you’re welcome! Glad this video helped!! -Justin

@@darkindustry thank you so much! Riding the fader for some throws is always fun haha. Just checked out and subscribed to your channel! You’re putting out some great, helpful content, and I can tell the amount of effort you’re putting into the production of each video too. Nice work all around!! -Justin

@@alexkasanen309 awesome! I’m so glad to hear that! When did you start getting into learning the engineering side of things? -Justin

@@joshwoj2784 You’re welcome! Glad this was helpful and thanks for the sub!! -Justin

@@Zabovideozauberfabrik thanks so much!!

@@darlarogers9717 thank you!!

@@tombrajder6402 of course! So glad this was helpful! I feel like this is one of those little known features that EVERYONE needs but few know exists haha. Not going to lie, it took me quite a few years to find out you could do this too. I was looking something up in the manual one day and accidentally stumbled across it. Needless to say, it’s came in handy many times since then! -Justin

@@amrfighter7825 of course! Thanks for watching! -Justin

I haven't tried the BC1500, but I imagine it would be a solid mic set as well! Behringer claims it's a step up from the BC1200, which is already great for the price, so at $149 it's still a bargain. Let me know what you think if you get them! -Justin

You’re very welcome! So happy to hear this helped you! -Justin

@ absolutely ! I’ve just spent the last hours since my comment using your method and it’s truly amazing !! Thanks again

@@paulg3388 it truly means a lot to hear comments like this! I appreciate you! Happy mixing 🤘🤘 -Justin

You’re welcome! -Justin

Any tool can degrade a mix if overused. Subtle is key! You might not find the Inflator being used in a mastering studio like Sterling, but there have been plenty of radio hits that have used this plugin. -Justin

@@Vardontheentertainer Record each voice multiple times to get the desired effect. Hope this helps! -Justin

@@TribalDanceAmirYa of course! Glad this was helpful to you! -Justin

It’s a great day and age when quality sounding tools can be available to those on a budget. It’s made recording accessible to people that may have never had the opportunity! -Justin

because you are converting the files.. they have to send the stems in MONO

It sounds like there might be some stereo effects/plugins baked into the track when they export it. If it’s just a single vocal panned center, it will sound the exact same once you convert the audio file from stereo to mono. -Justin

For sure! Today, the quality gap between budget and expensive gear is almost non-existent. If it’s a well-written song that is recorded and mixed well, the end result will sound good.

Cause i just wanted to do glitch effect of my voice like that but not a song

0:08

@@infectedvirussans similar method. I just manually sliced up my recorded track in Cubase and then added the video effect over it for a little extra

@@FromZeroToStudio ok awesome, thank you ^^

@ of course!

@@wereallthinkingit9389 thanks so much for the kind words!! Means a lot! -Justin

@@tkgoldman awesome!! So glad to hear this video helped you! -Justin

@@bobbollinger I don’t believe Cubase has that feature as of yet, but I’m still on Cubase 12. There are plugins like Music Rebalance or Ultimate Vocal Remover that do this though. Hope this helps! -Justin

@@FromZeroToStudio Probably easiest to stem the drums out of a song and then stem the drums into separate tracks to at least get separation and then use your method to build the midi track. Cymbals could remain the same if they contributed to the mix. Or SD3 and it's plugs may also help.

@@HR2635 that’s like saying you rarely ever want to paint a room red. Some people like a red room. When matching these mics to the raw sound of my Neumanns, they needed that low end boost to match, and I personally enjoy the amount low end the Neumanns capture. There’s no right or wrong way to go after the sound you are after, and it all goes hand in hand with how you are processing the rest of the mix. If you prefer cutting the all the lows, do it! You can still get a great sounding mix that way.

@@FromZeroToStudio not saying there are rules. Quite the opposite. just saying that for OH you rarely need the low end. To match it.. sure. As a drummer I hate too much low end in OH.. midrange though, there the behringers lack too. And the transients. The OH are the weakest point in that set. A pair of t.bone sc140 would be a lot better.

@@antestor2958 of course! Thanks for watching! -Justin

@@squids.studiolab thanks for the kind words! Glad it was helpful! -Justin

@@TheSaltiestDamien of course! Glad it was helpful! -Justin

@@rockboy360 probably a car, plane, cow, or tractor haha. Never a dull moment out here in farm country!

@@rockboy360 100%! And if these were all I had, I’d be happy with them. I’m not sure of the longevity or actual durability of them yet (haven’t given them the missed drum hit treatment haha), but I know an SM57 can take a beating. I’m curious how well these would hold up after being hit with drum sticks multiple times, accidentally dropped, etc. Any experience with that yet?

@@lorez6063 of course! Glad it was helpful!

@@garycoysmith for sure! The kit, the room, and the player are going to have a bigger impact than pro vs budget microphones, and this mic set is a testament to that. My kit is an older Tama Rockstar. It’s “ok” at best, but still sounds decent in a mix. I would like to swap the A Custom cymbals for something darker though.

100%! You can definitely get a great sounding recording without breaking the bank. Glad you enjoyed the video and thanks for watching! -Justin

Exactly! Budget friendly gear has advanced so much in the recent years that it sounds extremely close or even indistinguishable to higher end options. Even with this Behringer set, I wasn’t crazy about the sound of the kick mic, but with just a few EQ moves I was able to achieve that same rock kick sound I like from the D6. It’s a great time to be making music!

@@Gheiss- of course! The full video that this clip was from goes into much greater detail for each step of recording vocals in a home environment. Here’s the link if you want to check it out. Hope this helps! -Justin How To Record PRO Sounding Vocals At Home kzbin.info/www/bejne/bJLWl5iDrJxggrs -Justin

What can I say… if you’re trying to make the vocal layers sound like a real crowd, you have to have some bad singers mixed in there 😂😂

If nothing was accidentally mutedbefore mix down, double check the routing of the layered kick track and make sure it’s going to the proper place. Also, make sure that the correct channel is selected in the export window. Stereo out is typically selected as default, which should export the full mix. Have you tried exporting again with different results? -Justin

Thank you Harrison!!

It can be very helpful!

@@pawel535 great question! Since the guitar is just a monk track, applying a stereo plugin such as the stereo version of waves doubler to that track won’t achieve the desired effect. That’s why I send the guitars to a stereo group track and add the plugin there. You could also achieve the effect without duplicating the track and just sending the single guitar to the group track. However, I prefer to have easy control of the left and right source for overall level adjustments, muting, automation and such with a simple fader adjustment, rather than having to open the plugin to make any of those changes. I hope that answered your question! If not, let me know and I’ll try to dive more into it for you. -Justin

​@@FromZeroToStudio ​Thank you for the explanation Justin. I appreciate your help. Could you also explain how to define the three dots (direct, first and the second) visible in the open Doubler window and what they refer to? Do they refer to the created group track? That wouldn’t make sense, because then we would have the group in the center, with the corresponding ones on the left and right sides, which would give us a total of 6 signals? Sorry for the silly questions, but I don’t quite understand how this works in that scenario in the Doubler window. 🙂

There are no silly questions! You are correct that the 3 dots (white, red, & purple) correspond to the Direct, Left, and Right tracks created in the plugin. Once you apply this plugin on a stereo track, it creates the additional left and right signals from the original direct signal. The little graph on the top left shows where each is in the stereo field. The white direct signal is the original mono track, right up the center. The red "voice 1" signal is the first double created, panned 45% to the left. The purple "voice 2" signal is the second double created, panned 45% to the right. That gives us 3 signals-center, left, and right. You may even want to mute the direct signal if you're looking for a more true stereo guitar sound. Otherwise, it will sound like you're just giving some width to the original guitar. Hope this helps!

@@FromZeroToStudio thank you! It's perfectly clear now :)

@@pawel535 of course! Glad that helped!

Thanks so much! -Justin

This video is referring to listening to your mix in mono while mixing the lead vocal. With everything coming up the center, it allows your ears to quickly judge the level of the vocal against the other instrumentation. For the second part of your question, the lead vocal is typically a mono track since it’s a single audio source on one microphone. A stereo track just takes up more hard drive space and is not necessary, unless you’re using creative stereo FX or something like that where a stereo track is needed. Hope this helps! -Justin

Awesome! Glad it helped! -Justin

@@tomsm06 😂😂 glad you appreciated it! -Justin

@@YamenNazer for just a single channel, I would save the inserts as a user preset and then load that preset on the stereo out of the other project. Hope this helps! -Justin

@@FromZeroToStudio That will help thanks sir❤

@@YamenNazer of course!