Nice seeing you here at UA. I hope you'll be able to keep making these types of videos. i really enjoyed Ben's COVID live streams and it'd be great if you could do something like those again. Cheers!
I've busted my ass on a job I don't like to buy almost all of your beautiful plugins. I can't wait to get this DLX Mic next... gonna start saving my cheese now 💰
every product is better, when Geoff explains it, Geoff rules ! thank you UA for picking him. thank you Geoff, like we say, you can sell a fridge to an eskimo !
I own two DLX mics. The ribbons definitely sound darker and the 103, 800 have more crispy top end in comparison. 47 and 67 sound a little darker than others. But other than that I don't hear much of a difference across the mics. The reason there is such a stark contrast on the "Eminem" chain is because you're flipping between two extremes - but I find that overall the mics sound very similar to one another other than those few.
How does it work to flatten the original sound to eliminate the original microphone characteristics and then model it back to the model you are selecting? It sounds to me more like a coloring algorithm rather than an emulation tool.
It's a complex modeling process that uses the front and rear capsules to interpolate patterns, off axis response, and of course the sonics of the mic itself.
Nice! I think Billie Elish uses a 251 now though. Sounds great though. In the Kendrick example, I never put two tube compressors back to back. I may try that. I usually use one or the other.
Don’t worry my friend. Clipping won’t ruin the sound of your tracks as long as the final output in your DAW doesn’t clip the converters. For MANY years now everything in your DAW is being internally processed at 32 bit (if not 64 bit), which gives an enormous amount of headroom even past the clipping point. You can literally clip the hell out of a track/bus, going WELL over the red, and still get pristine sound as long as you compensate before the converters. Unfortunately this is something people still don’t understand well, and the reason why it’s still being frowned upon today. Yeah, I know what you’re thinking. But isn’t better to go into plugins such as the UAD ones at -18 dB RMS? If you want a sterile sound, sure. However, that’s not even what people back in the analog days did. They pushed their gear until they got the sound they wanted, which was usually past 0dB on a VU meter. Just use your ears 👂 and stop relying so much on your eyes 👁️.
@@A.M.I.G.O. It’s better to just use your ears. Each plug-in has their own sweet-spot, so setting everything to the same LUFS value won’t make the mix any justice. Forget about LUFS levels and simply try your best to make your mixes sound as good as possible. If there was a magical LUFS setting for all tracks, we’d all be doing that by now. Rather than worry about LUFS, train your ears to identify problematic audio. That’ll be 1000X more beneficial than any gain staging advice you’ll hear on TH-cam. Why? Because you’ll easily hear when you’re pushing your plugins too far, or not enough (i.e. compressing too much/not enough, pushing too much into a plug-in/not enough, EQuing too much/not enough, etc). Yes, it’s gonna take a lot of time to get there, from many hours of mixing and listening, but your ears are really the best tools you have. Train them, and then you won’t have to worry about any of this crap. That said, where gain staging matters most is on the way into and out of your DAW. Try giving yourself plenty of headroom during tracking (if you are tracking, that is). It depends on the source, but as a general rule, I personally try to keep PEAK levels between -12dB and -9dB FS. This is not LUFS, nor RMS, btw. It’s just regular peak levels in full scale digital metering. No need for fancy metering plugins (just your standard DAW/Console peak meters). That way you not only prevent clipping, but also pushing your converters more than they need to. Plus, you won’t have to trim your tracks in order to prevent going too hot into your plugins. If you’re constantly trimming, that means you’re recording too hot. There’s no need for that with 24 bit recording. Anyway, those are the two main places where going above red matters. Going a little bit over the red inside the DAW is not a big deal, as I mentioned earlier. You’ll see a lot of pros going over and their tracks still kick ass. As long as it doesn’t sound bad, it’s all good 👍. Take care!
No, Billie Eilish, Taylor Swift, Lil Nas X, has awful vocals and strange frequencies like ohmmm, also they have no high end in their productions!Low frequencies feed the fear.
Great to see Geoff. He's been a great source of advice ever since I found his yt channel.
I’m so here for this content. Clearly delivered, no fluff. Love it, Geoff. Good stuff
Nice seeing you here at UA. I hope you'll be able to keep making these types of videos. i really enjoyed Ben's COVID live streams and it'd be great if you could do something like those again. Cheers!
Wonderful demo Geoff! Shows off why I love the Sphere perfectly.
I've busted my ass on a job I don't like to buy almost all of your beautiful plugins. I can't wait to get this DLX Mic next... gonna start saving my cheese now 💰
Bro you are everywhere and I like it 😅❤️
Sus sus susssss
every product is better, when Geoff explains it, Geoff rules ! thank you UA for picking him. thank you Geoff, like we say, you can sell a fridge to an eskimo !
Snr Product Marketing Manager sent to do some work on TH-cam... Time have definitely changed. And it all SOUNDS GOOD!
Really interested in the space effects applied on the first song. Could you share with us which plugin you used?
Wow. just wow. Share this and the whole world understand the real story
BEAUTIFUL VIDEO!!!🔥🔥🔥🔥
EXCELLENT DEMO! Now do Hemisphere ;-)
I own two DLX mics. The ribbons definitely sound darker and the 103, 800 have more crispy top end in comparison. 47 and 67 sound a little darker than others. But other than that I don't hear much of a difference across the mics. The reason there is such a stark contrast on the "Eminem" chain is because you're flipping between two extremes - but I find that overall the mics sound very similar to one another other than those few.
This shows how awesome Stevie Wonder is.
Geoff Manchester. Manchester Music. Welcome…oh wait wrong channel
What’s the reverb here? It sounds incredibly atmospheric and spacey
New job my man
great video 👍….please Ocean Way & Putman Sphere plugins ported to native would be absolutely wonderful !!! 💪😉👍
How do you record this amazing tutorials (the vocals of the guy explaining sound amazing)
Boom Mic Pointed to Chest + Apollo? 🤤
Rock On Guys!
What reverb did you use on the Billie Eilish style vocal? It sounds fantastic!
Lex224
@@UniversalAudio One of my favourites! Thank you so much for letting me know!!
👍🏻
@@UniversalAudio Could you do another episode showing the vocal effect of the Billie Eillish style please ?
So you have to have Apollo to use this
Great video thank you!
i love the vocal chains but the 1 thing miss is the reverbs
Where can you get these vocal chain presets from?
Wonder if there's a Geoff Universal Audio, from Manchester?
A Geoff Universal Audio, from Manchester and formerly from Izotope Land.
LD-800 is much better than that other mic setting for sure
will you make the sphere software native? I'm considering buying the mic but i don't want to be always hooked up to my interface to use the software
The core plugin already is. No news on Ocean Way or Putnam at this time, but we know users want to use them natively.
@@UniversalAudio ohhh I did not know that, sorry about that...looking forward to being dlx user
@@UniversalAudioplease yes pretty please 🤘😅🤘
@UniversalAudio Which song are the vocals in Billie Eilish's track taken from?
It's a "sound-a-like"
Great why neve strip is not in uad spark and ssl
How does it work to flatten the original sound to eliminate the original microphone characteristics and then model it back to the model you are selecting? It sounds to me more like a coloring algorithm rather than an emulation tool.
It's a complex modeling process that uses the front and rear capsules to interpolate patterns, off axis response, and of course the sonics of the mic itself.
@@UniversalAudio Stunning! New algorithms are pure magic.😍
What reverb did you use on the female vocal?
Lex224
@@UniversalAudio can you share the details of the reverb sends, please? Is it just Lex224 or mixed with some delays etc? Thanks
It's just the Lex
Nice! I think Billie Elish uses a 251 now though. Sounds great though. In the Kendrick example, I never put two tube compressors back to back. I may try that. I usually use one or the other.
Interesting thing is that when plugins are bypassed it sounds still great, I mean the sound is amazing. Can you explain why? @universal audio
Great tracking! Great talent! Great core hardware all around.
The DLX actually sounds great without any modeling. The modeling is just the icing on the cake.
yup
What reverb on the Billie eilish vocals?
Lex224
Sphere is in UAD Spark?
It is not. The core plugin is free when you buy any Sphere model.
Does Sphere come with a mic?
Ok I see it. Had to go back to the beginning
Did bro leave izotope? If he is working for both companies amazing. 😂😂
Thank gosh it’s not native I can’t afford any more plugins 🤣
With UA NOW ??!!
Cammmmm on !!
😅😂💪
Hope they paye you a lot !!
😅😂😅😂😅😂
Nice to here you here !
Maybe you have to follow Waves model with Studioverse and provide the presets of effect chains with your plugins
I’m not inspired in anyway by Billie eyelashes
Can I have better choices?
HEY UA! HOW DOES IT FEEL TO BE RIPPED OFF BY EVERYONE LIKE AUDIOSCAPE AND PURPLE AUDIO ETC LIKE SOME CUCKS??
Do you have to have the drum machine behind the talking? It is very annoying and a common mistake.
If u r gonna give vocal advice u could start by lowering the bass excess and the overcompression u have in your voice
why the vocal track clippin
Ah yes, the clipping police reporting for duty
Don’t worry my friend.
Clipping won’t ruin the sound of your tracks as long as the final output in your DAW doesn’t clip the converters. For MANY years now everything in your DAW is being internally processed at 32 bit (if not 64 bit), which gives an enormous amount of headroom even past the clipping point. You can literally clip the hell out of a track/bus, going WELL over the red, and still get pristine sound as long as you compensate before the converters.
Unfortunately this is something people still don’t understand well, and the reason why it’s still being frowned upon today.
Yeah, I know what you’re thinking. But isn’t better to go into plugins such as the UAD ones at -18 dB RMS?
If you want a sterile sound, sure. However, that’s not even what people back in the analog days did. They pushed their gear until they got the sound they wanted, which was usually past 0dB on a VU meter. Just use your ears 👂 and stop relying so much on your eyes 👁️.
@@SonarHDwhere can I learn more about the ideal lufs to go into UAD stuff ?
@@A.M.I.G.O. It’s better to just use your ears.
Each plug-in has their own sweet-spot, so setting everything to the same LUFS value won’t make the mix any justice. Forget about LUFS levels and simply try your best to make your mixes sound as good as possible. If there was a magical LUFS setting for all tracks, we’d all be doing that by now.
Rather than worry about LUFS, train your ears to identify problematic audio. That’ll be 1000X more beneficial than any gain staging advice you’ll hear on TH-cam. Why? Because you’ll easily hear when you’re pushing your plugins too far, or not enough (i.e. compressing too much/not enough, pushing too much into a plug-in/not enough, EQuing too much/not enough, etc).
Yes, it’s gonna take a lot of time to get there, from many hours of mixing and listening, but your ears are really the best tools you have. Train them, and then you won’t have to worry about any of this crap.
That said, where gain staging matters most is on the way into and out of your DAW. Try giving yourself plenty of headroom during tracking (if you are tracking, that is). It depends on the source, but as a general rule, I personally try to keep PEAK levels between -12dB and -9dB FS. This is not LUFS, nor RMS, btw. It’s just regular peak levels in full scale digital metering. No need for fancy metering plugins (just your standard DAW/Console peak meters). That way you not only prevent clipping, but also pushing your converters more than they need to. Plus, you won’t have to trim your tracks in order to prevent going too hot into your plugins. If you’re constantly trimming, that means you’re recording too hot. There’s no need for that with 24 bit recording.
Anyway, those are the two main places where going above red matters. Going a little bit over the red inside the DAW is not a big deal, as I mentioned earlier. You’ll see a lot of pros going over and their tracks still kick ass. As long as it doesn’t sound bad, it’s all good 👍.
Take care!
@@SonarHDisn’t 0db on the VU meter equivalent to -18dbfs, the sweet spot for analog gear emulations?
I hate whisper pop. Just sayin…
No, Billie Eilish, Taylor Swift, Lil Nas X, has awful vocals and strange frequencies like ohmmm, also they have no high end in their productions!Low frequencies feed the fear.