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The available forums are Recording Techniques, Mixing Techniques, Mastering Techniques, Gear Gab, Computers & Software, Music & Composition, Sampling & Field Recording, Live Sound Reinforcement and Talkin Smack for off topic conversation.

Cubase 7.5 pre eq
Been a minute since I dropped by. Can't find anything on this except the Steinberg hype that it is a new "feature". Questionable nomenclature at this juncture.

Has anyone used the pre-eq in Cubase? Not too sure what to do with it. Obviously you can assign a low shelf at a selectable frequency as well as a high shelf. So exactly how does the gain adjustment effect either or both? It appears it could actually be a feature if it were to help cut out the rumble region hopefully with a steeper Q than the low shelf on eq1. Or maybe it's just window dressing?
Do you always use Reverb when mastering?
I've been experimenting with some mastering lately - and by that I mean taking someones mixes, applying fades, EQ, compression or limiter and trying to make them sound better, more consistent with eachother, etc.... (and admittantly louder).

Shouldnt I be putting some final reverb on there as well? I seem to remember reading that as part of a common mastering chain. I have Waves, T-Racks3 and Isotope Ozone - any good ones to start messing around with?

While I have you, as a general rule, should I be looking to apply a limiter at all times, or just compression or both? Or, like everythig else, does it all just depend on the actual song?


Dan B.
  • 7 Posts
  • Updated by Walt
  • On Sep 02 2014, 12:09 am in Gear Gab
Audio foam placement
Just curious here, what are people's different theories (or proven facts) regarding the placement of pieces of audio absorbing foam?

I have about 16 2x2 sheets right now, started hanging a few in obvious places, like using them to interrupt long, flat surfaces or places like that...and it got me to wondering what other folks do when they hang it, how they decide where, or, do people use it as more of a "it looks nice there" sort of thing?


Awhile ago you mentioned a small tutorial on what you did to mix/master the collaboration done between a few of us here on this forum. Since I have a band coming to the studio here in a few weeks, I would love to gain some insight on what you did. I'm not really looking for precise settings, but more or less a rundown of what general plugins were used (per instrument) and what EQ manipulation you did.... especially for kick, snare, and guitars.

Thanks in advance
That blasted Metronome! How do you guys record bands?
Curious as to how most of you record bands and have all of them keep the timing.

Here's my scenario. With my studio being only one room and having only 8 simultaneous mic inputs (all used up by my drums), there's no way for me to record drums WHILE having the guitar player play at the same time (DI).

So what I usually do is have them 'scratch track' as best they can to a metronome. This take A LOT of time, believe it or not, because they're used to playing along with the drums... and the lack of drums tends to throw them off more than you can imagine. Stupid death metal.. why's it gotta be so complicated?

Anyway.. back on point. Then, I record drums to the scratch track (with metronome as well) only to learn that we either forgot a part, or left a verse too short or whatever the case may be. So the scratch track process starts all over again.

Now... I could try to get around this nuance by playing drums (but not recording) whilst they record the scratch track, but my ability to keep with the metronome while trying to listen to the guitar player at the same time is even more impossible, especially when the songs change time/tempos.

So this leads to the question: What process do you guys use to record in perfect timing... especially if the metronome needs to be adjusted say from a 1/4 to a 3/4 during parts of the song? Are the bands you record just that well prepared or do you find yourself in similar scenarios?
Hey all...i am currently building a basement project studio...and i have one big question that google couldnt answer. I am building a small iso booth primarily for vox dubs and possibly guitar cab iso...the room wont be soundproof because i dont have that kind of money but i will try to make it as much so as possible. My question is...there is an AC cable going right thru the top of it in the studs...i can move it a bit...but i was toying with the idea of a recessed light in there. In the past i have had issues with microphones sounding thin if placed too close to an overhead junction box. Is that something i should consider with a jbox or recessed can overhead? Or was it perhaps a faulty jbox in my previous experience?.
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