Hey all, Matt Hepworth here. I've been making rock and metal records for more than two decades. Join me for journeys into creative ways to do things, tutorials of some of the less talked about techniques, and deep dives into the nitty-gritty stuff that companies don't tell us about!
Thanks for making this video Matt! I just stumbled across it because I've had a project where the toms sound AWFUL!!! This is a lifesaver, thanks so much! 🙏🏼
@@MattHepworth that’s for messaging back Let me explain better. My Console and Logic Pro DAW are routed and I can record fine, when I play/record the drums the fader channels (kick, snare, overheads) in both logic and console light up. However once the recording done and I play back my tracks only 1 fader (I’ve named Logic) lights up in console not the individual channel strips ie Snare, Kick, Over heads On your video all your channels strips on Console are lighting up during play back - how did you manage to do that?
I think were UA falls short is incorrectly timed automatic hardware insert delay compensation. I can’t use a lot of my hardware in parallel without having to figure out a routing scheme with time adjuster and DC user offset to get them in phase.
@@MattHepworthit does show Aux 1 L on Channel 11 and AUX1 R on channel 12 but doesn’t show up in my Logix input section, in logic it just shows inputs 1 through 16
@@MattHepworthdo you have an email I can send a screenshot to so I can better explain what I’m dealing with, been doing so much research and trying to figure this out
You can do it before or after processing. If you're printing the signal, you'll just need 1 channel recorded in the DAW, so you just use Melodyne on it after-the-fact. If you're not printing, you can use Melodyne on the stereo track as ARA before processing Sphere.
The UA interfaces use a $15 Chinese convertor… the Carbon is using the convertors from the 192s and the same ones in Burl convertors it’s a vast difference
@lawrencehitti4575 - actually, the converters in the Burl are less than $10. It's very unlikely Carbon uses the converters from the 192s (those are 20 years old and obsolete). Pretty much all manufacturers use the same four brands of converters - AKM, CL, BB, and ESS. Even Burl (AKM, primarily). It's not the actual converter that's expensive (they're all dirt cheap), it's the circuitry surrounding the converters and powering the converters that makes them excellent, good, or just mediocre. I have not opened my Carbon, but there are images of an opened unit available on the net and you'll see it also uses cheap, $10 converters.
hope this works! can't get my sphere to have both channels show up, and its EXTREMELY low volume (im in logic, was sorta considering getting a diff soundcard/mic)
11:29 Really confused, here. You list _plugin latency_ as a drawback but isn't the _whole point_ of Carbon that its onboard DSP handles plugin processing for low-latency tracking?
Yes, but the plugins add latency. Some add a lot. A few only add a little. You can very easily have a plugin chain on Carbon or HDX that exceeds the latency of native with the same plugins due to the lack of prioritization for low latency with the AAX DSP plugins, ironically.
No. TDM was a low latency DSP platform, while HDX really isn't focused on low latency. A typical TDM plugin was 3 samples. A typical HDX plugin is 34 samples. Add a comp, an EQ, and Tape and you're at ~100 samples on HDX. You're around 10 samples with TDM, so, roughly 10x as much latency with HDX once you involve plugins. Yes, you can use a few that are lower latency, but the lowest you'll get is 10 samples per plugin on HDX, and that's only a handful of good ones.
I'm following these instructions step by step and I'm getting all the way to when I select inputs in ProTools. No signal hitting the DAW. Not sure what's going on.
Outstanding. My instincts sense your taste in sound is close to my own only, only I am a wearing assorted noob shackles.... Keep the fun stuff coming, and thanks!
wait how do you compensate for latency if you don't use IDC? what about tracking drums? you mentioned plugins you use to combat that? super awesome vid btw thanks!
i see so for monitoring while playing have the IDC off and in your DAW have the delay on the individual tracks so they play back in time together...man what a weird work around...my issue is im recording a full drum kit, with drum triggers in real time and IDC was killing the performance...way too much noticeable latency for a drummer...so using the chart of latency you made you can just adjust those values in your daw for phase aligned playback (logic pro and ableton both have track delay inputs available). Do you recommend not using unison plugins vs inserts? thanks for this its def clearing things up.
Thanks! I use either the same plugin latency across the channels, or a combination (even bypassed) that equals the same latency. I do not worry about compensating, since, technically, even with IDC enabled you should be compensating an amount opposite whatever IDC amount you're using (i.e. IDC of short will actually print 100 samples late on the timeline). Or, at least it used to. I haven't tested it in a few years. I NEVER use IDC, personally.
toggling would be great because manually switching everything is impractical but I understand it would take a ton of coding (Smashed the button) thanks for the video
It's actually pretty straight forward. All Matt is doing here is routing the same signal to an AUX and recording that AUX along with the Mic inputs on a separate track. The effects he's placing on the actual mic channel, are not being "printed" on the Mic channel, hence the blue dot above the effects rack in Apollo Console, but because that signal is also being routed to an AUX, the fully processed signal will record into that second track. This is a very smart way to work if you're not sure about mic selection for specific sources and want to leave it to the mixing engineer.
This is great stuff, Saw your correction below pinned in the comments here too. I am an RTFM kind of guy, but there's a lot of M(anual) pages to read with UAD and I am not even sure if they cover this detail clearly.. I got my start with analog tape and SMPTE synced sequencers... Never really had to think about stuff like this back then. (there were other annoyances and details instead lol) Subscribed. Thanks for the tip in the UAD forum and the link that brought me here. I have been working at 44.1with the default IDC at medium since I got my x8p.. I only really use Console Auxes for effects in the headphones for the talent during tracking, I never print effects (or anything else) through the auxes in UAD console.. When I track my vocals I DO however run my 1073 in unison and an 1176 legacy in an insert slot and said insert is set to print usually. I commit my vocals the same way I used to when using tape, with the mic pre and tracking compression that sits well in my cans, prevents overloads and is inspiring to sing with and work with my voice without squashing the life out of it. If you set an insert to print, does it have the same exception to the rule of sample delay that the unison slot does? (I need to re-watch this video again until I fully grok the math and how it applies to what I am even asking.. I need coffee lol)
Thank you! So, Unison will ALWAYS print. Keep that in mind. If Unison is feeding an aux, you're still dealing with the same number of samples of delay, which, if you're using 100% wet FX is only a predelay happening. One that that's super hard to wrap your head around is with IDC disabled (I always use it this way, personally, for the lowest latency) your tracks will print out of sync with each other, unless you compensate manually by using bypassed plugins (I do this). However, if you DO use IDC, the tracks will actually print on the timeline offset (late) the same number of samples as the max of the delay. When I switched to Carbon after some terrors with Apollo delay comp (turned out to be a PT setting that caused a bug) I was STILL running into wacky delay issues so often I was REALLY considering buying a tape machine again!
@@MattHepworthI am aware that Unison by nature always prints. I also happen to choose to have the insert for the compressor printing as well while tracking my vocals. :-)
I don’t thing the difference is small, they all sound similar because it’s the same part, but sonically I could tell from the first clip all of them apart! It helps having trained ears, being jazz musician, who grew up with vinyl and is a sound e engineer. Probably most people can’t tell the difference, but that doesn’t make me no hear it! I always like analog better
It did not live up to the hype i mean i was good and better than a cheap interface but compared to prolevel gear doesnt even come close like the carbon blows the apolo out the water in terms of sound quality and dsp features (i know poeple will debate this) they said apolo no latency when tracking even with plugins what they forgot to say that each plugin you add adds samples of delay so its not latency free i know then carbon is similar but they tell you how much each plugin will add in latency. Also im a pro tools users and love the integration with the software.
Carbon's integration is hard to beat! I don't know if you watched part 2, but I cover the cons of Apollo and also make my recommendation as to which to buy.
Pretty good, all the pres. Listening on the phone, after the initial pass (with the preamp tags visible), it was pretty easy to recognize the vintage 73: it’s just perfect, no harshness, sweet and frequency extended (hi end, no idea lo end) and the Unison (good response but less extension and a touch harsher high mids). Harder to distinguish were the Heritage (on the first/tag pass it sounded to me a drop boxier and more closed than the LB) and the LB (more hi end emphasis and less depth in the 1st pass). In fact, I couldn’t . I just knew the first 2 were LB or Heritage. Couldn’t identify which. Again, great test. My conclusion: there is definitely a sound quality value to vintage gear. It is NOT hype. The modern gear harshness is not imagined. I know that every vintage channel ever sounds different from any other and that age makes almost impossible to know how it did sound when new and how many repairs and spare parts have changed the sound, but this same thing happened when comparing 414s. The vintage EB’s just sounded like a record. This by no way means one can’t make better sounding records than before, but it just needs a little more work and probably accounts for the proliferation of resonance supressors and dynamic eqs. Again, thanks for the great test.
Interesting, that you mix in console and not in your DAW. May i ask why you do that? How is your process - when Do you switch to you DAW? What benefits do you have mixing in console instead of your DAW? Why do you prefer Console? And where do your tracks come from, if they are not coming from ProTools - because you open that later??? Too many questions, i know, but i would really like to know your DAW-Console setup and workflow. Best regards and great videos for Apollo you put up here!
Thanks for the questions! It's really just to get a great sound on the way in and for monitoring. It's also really simple to control all the drums with one fader instead of 14...
@@MattHepworth yes, but you can also do this with a bus in the DAW. I just run a comparison test using routing in console compared to using routing in the DAW with hardware units, unfortunately the Console routing using virtual channels is worse than using the channels directly fro, the DAW. i hoped this would be a great solution, but it isn't. best regards
This was the video I needed. Great summary and selection of information. Thank you! One thing that might be interesting with the latest version of 1.5.5.3477, is that in 'Core Audio' mode (previously Native) you can still use Unison via Console on your Apollo Inputs in combination with LUNA. It's just not accessible from within LUNA.
I got a bundle but sadly they are unusable because of the dreaded blurry GUI that no one really knows how to fix. Shame. I was really looking forward to using them.
The only thing that will work is using the older versions. There were only a dozen or so plugins that are compatible with anything older than Catalina. None of the newer plugins work on the older OS versions because they were made after the fundamental change had already taken place.
I have Apollo Twin MK2 and I monitor through Console. In Ableton, i try to record a clip and for whatever reason, the recording picks up the ENTIRE session, including the metronome, instead of recording just the one source. Is it because loopback is enabled in Console? Frustrating to say the least to hit record and the recording picks up EVERYTHING audible instead of the one-thing you're trying to record. Possibly an issue with routing? Any insight on how this can be resolved?
