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Warning! If you got used to the ringing and think you have it good it CAN get louder. Also you might develop Hyperacusis which is a REAL game changer. I used to love loud amps and guitars i now sold all my stuff and not even thinking of anything related to music.
in the "mapping editor" you have at the bottom right (in the amplifier section) the option "output". Select the group and choose the correct bus for the selected group there.
Thank you so much for this tutorial it has really helped but I can't seem to find the Rename Markers and Regions in time selection action. It it an extension?
Thank you so, so much! I am currently building my own drum sampler with Kontakt for Modern Reggae Drums and your videos are so important in my process, I couldnt do it without your tutorials. Vielen Dank, grazie mille!
Thanks for putting this together, I also appreciated your personal opinion on everything. I'm currently discovering Dolby Atmos through various websites and videos like yours. I find it very interesting in general, but haven't heard enough examples yet to make up my opinion on whether I should get deeper into it. Your video was helpful to me nonetheless.
For me -13 to -10 works because for me -8 lufs sounds fine in headphones but not in my portable speaker which is around 20 dollars, so in order to sound good on all devices even crappy cheap ones I use -13 to -10 lufs
Around 700 dollars for the diy kit + what the capsule is worth. You can get premium contemporary CK12 capsules for 400-800€ but this one is a NOS original, so different people will pay different amounts for it. If you use a NOS 6072 tube, a Haufe transformer a siemens amplifier etc… you can easily reach up to 2000€ in parts alone
As tinnitus can also be a temporary reaction to loud noises, my advice to you is to protect your ears as much as possible over the next few days. If it doesn't get better, I would always recommend an ENT visit - despite my video.
Thanks for the video ;-) Still, some hearing damage can happen beyond 8kHz : I went to an ENT who did my audiogram up to 15kHz, that showed hearing loss at around 13kHz, which is the estimated frequency of my tinnitus. I also have some stiffness in my upper body and some teeth grinding, and I'm also seeing a physiotherapist + doing yoga, but I don't think all this is the root cause of my T. Science shows the vast majority of cases are linked with some degree of hearing loss... Anyway, I believe your advices and practices can only alleviate it, so, way to go. I'm a musician as well, btw ^^
Thanks for your comment. I could or maybe even should have elaborate this topic a little bit more: as you wrote, Tinnitus is linked with hearing loss, that's for sure. Just thinking about it from a Mixing Engineer standpoint (frequency masking): If I have a loud 8k ring in my ears, I won't be able to hear 8k from external sources as good. The important thing that I toke away from visiting the ENT and the dentist: my ears are fine - not perfect, but within an absolutely normal decline in my age. And considering that I am a drummer for 20+ years, they are actually pretty good. I primarely went to see those specialist because of this tension I had in my right jaw/ear. This is 100% percent caused by my posture and jaw grinding, and it may be that this worsened the tinnitus a lot. Doing the things I said in the video alleviate it a lot - if I have I busy week and I don't do the exercise, yoga, drinking water, I immediately notice that the Tinnitus gets worse. Is it just psychosomatic? It may be, but I'll take whatever works. I have to add that I was not able to get 100% rid of the tinnitus and I think I will never be, because some slight damage will have happened to my ears in the 20 years of drumming. But not such a damage that my hearing is impaired. And that's was something that soothed me A LOT 😅
Great video! Really clear! I have a question: What’s the easiest way to have volume control of each microphone but within Kontakt? So ideally, Kontakt always routes to one stereo channel in the DAW, but I can turn the room mic up and down within Kontakt. Is it just a matter of creating a volume control knob and mapping it to the room mic group?
Thanks! Within the "Instrument Buses" Section of contact you have a Volume control for every instrument bus. So you can either adjust the volume there or create, as you wrote, a volume control knob and map it to that function.
If you're intro scripting you want to have control of the individual volume of each instrument in a bus, you can do this via the Group Volume, here is how I did this a few years ago: declare ui_knob $knob_to_control_volume (0,1000000,1) $knob_to_control_volume := _get_engine_par ($ENGINE_PAR_VOLUME,-1,-1, GROUPNUMBER) let me know if you need more info on that and I can open that project and see exactly what I did
@@MIX66.studio thanks so much this is helpful I’ll give it a go! Thanks for that scripting stuff as well I’m yet to get into that side of things but I’ve ideas for projects that mean I might have to! Thanks again for the advice!
Hi and thx for a great video. Have you experienced that the JS loudness meter is not accurate in 5.1 mode. Comparing with other meter in multichannel mode the js one gives me 1.5 dB more volume?
Thank you! I never went down the rabbit hole and compared different meters in 5.1... If I have time I can check that out and let you know I a also find a volume difference with JS Loudness
I want to express my deep gratitude for this video. Before watching it, I was convinced that I was struggling alone with a serious medical condition. I had been reading WebMD and self-diagnosing myself with various conditions. However, I decided to seek professional help and visited an ENT. I underwent the same test you had, and it was an enjoyable experience to see my hearing levels and the frequencies I am hearing well. Fortunately, the test results were great, but I still experience pressure. After watching your video, I believe that my symptoms might be similar to yours. Thank you so much for sharing your experience through this video.
Hey, thank you for your comment! 🙌 That's exactly why I made this video. After getting this diagnose I thought I can't be the only one with these bad habits (posture, muscle tension, jaw clenchig)... I guess the modern lifestyle with working seated in front of a PC doesn't help a lot 😒 I am really happy that this video helped you and I hope your symptoms get better ASAP🙏
I find myself clenching my teeth and jaw while working on the computer producing for hours at a time. I can't wait to get home and rearrange my seating to have a more comfortable posture. Most importantly, I need to relax. The high-pitched ringing in my ears is now a hissing sound in the background. Thank you so much again.
it gets better trust me. Tinnitus affects so many more people than you would think. I have been able to find a way to live with it and no longer stress about it constantly like I used to 🙏
@@SupThomas I have noticed stress and bad sleep make Tinnitus so much worse. But with good sleep and some stress management, it doesn't really affect me. 🙏🏻
Complete nonsense, mastering louder than -14 LUFS will reduce the dynamic range, meaning the loud parts can’t stand out as much compared to the softer parts. You’re losing out on a bunch of impact. Also, if some peaks end up clipping in the conversion, it causes audible distortion, but won’t impact the Integrated LUFS value at all. So, do not only focus on keeping 1dB of headroom, aim for an Integrated LUFS value of -14 and apply soft clipping or limiting only for the loudest of peaks.
Hi! I appreciate your critical comment, and I agree that peaks should never clip because, as you mentioned, it can cause audible distortion. Additionally, as I mentioned in the video, it may lead streaming platform algorithms to lower your master even further. However, I must defend myself against the "complete nonsense" comment. Just because you master your music at -14 LUFS does not mean it will lack impact. Take bus compressors, for example; they can add significant impact, punch, and glue to your mix by compressing and thus reducing the dynamic range. The same principle applies to clippers and limiters - when used correctly, they can enhance the impact of your mix. Yes, the reduce dynamic range, but you can compensate for this with automation tricks. That's why I appeal to music producers, mixing engineers, and mastering engineers: don't stress too much about how loudly your music is mastered. There are other things that are much more important to have a great sounding record. If your master sounds great at -7 LUFS, why lower it? your mix could fall apart. same thing if your master sounds great at -14 LUFS, there's no need to make it any louder.
@@MIX66.studio Thanks for your response, and that's absolutely right! You can definitely get a more impactful sound by actually reducing the dynamics with, for instance, a bus compressor. A compressor can improve the sound of a mix, a limiter can only make it louder when there's not enough headroom left (and distort the signal in the process). I think what I meant with impact is the difference in volume between different sections of a song. So not necessarily the short term dynamics (which can be controlled with moderate to fast compression), but for instance the dynamics between a verse and a chorus. I think it's good to realise that you can have a great mix that ends up at -10 LUFS or even -8 LUFS. As a mastering engineer I would not complain about this (although there's probably unnecessary limiting or clipping). But there's definitely a benefit to still master that "loud" mix to -14 LUFS, because you can decrease the volume in calmer sections and increase the volume during the more energetic parts. The "average" will still be -14 LUFS, but you could have an intro be -18 LUFS and then get a whole bunch of impact with a -10 LUFS section after it. I would not be able to create this kind of volume impact if I tried to keep the average loudness at -8 LUFS. And besides, in this day and age most of the listeners will be streaming music and hear it at -14 LUFS. Why turn down your limiter threshold when it's not always necessary and can actually make a great mix sound bad? It's not about headroom anymore, that's the freedom we've gained with audio normalisation. I hope you understand what I mean :)
I couldn't agree more with everything that you've just said! I made this video primarily because I think people spend too much time worrying about LUFS, loudness penalties, and so on... So instead of investing time in great songwriting, recording and mixing it properly, many just prefer to debate endlessly about what the perfect LUFS for certain genres or streaming platforms is 🤷🏻♂️
😂😂😂 well, at least you are listening on earbuds on not on your phone speakers...😅 but honestly, sometimes I wonder why we as audio professional spend so much money on the best-sounding gear when so many people are listening on crappy playback systems...🥴😅
Nope ..... I wouldnt pay 100 times the price. SM58 is industry standard and has been for years and years. Very much like SM57 (which surprisingly many vocalists prefer even though it was designed for instruments) as they are super rugged and even though you havnt used any processing here, I think that with the right desk, eq, compression and outboard effects, its a no brainer and will stand confortably alongside the C12. SM58 all the way for me. But, sound is hugely subjective too, so, its really down to an individuals preference for tone.
I agree, sound is hugely subjective - and it depends on what or who you have in front of the mic and also what you are trying to achieve. For a vocal sound like Celine Dion, I think you are better off using a great-sounding condenser like the C12. With processing you probably will get a SM58 to sound nearly the same, but I doubt it will be better than a C12 - if your are going for that sound. Does this justify the price difference? No, never ever in my opinion 😄 I guess Telefunken (who are selling the original C12 with a gold-coated capsule for 12k) are trying to sell snake oil. And, time for a heavy metal screamer I would even prefer the SM58 over a C12 😁 PS: AFAIK the SM57 and the SM58 are identical microphones except for the grill... 😅
@@MIX66.studio two things: I'd mention the input chain into your DAW and any other interesting tidbits, like showing a little spectrum frequency response chart (maybe) on each hit, and mention the actual cost of each mic. Just suggestions, still useful stuff even with just the audio, though I nearly had conniptions when I looked up the cost of some of the Neumanns you tested. 🥺
@@johnvcougar that are great ideas! I will make some more videos like this with guitar, vocals and maybe something else, there I will definitely add your suggestions thanks!
Stefan, as someone who's been dipping in and out of Kontakt for years, THANK YOU for possibly the best Kontakt tutorial I've ever seen. Straightforward, but comprehensive and covers exactly what I want. And it manages to avoid scripting (I think scripting is fun! I just don't have the time to delve too deeply into it...). I've often wanted an easy way to make simple multi-mic, round-robin drum instruments in Kontakt, similar to the Slate Trigger Instrument Editor, and this works perfectly. Thanks for your time and your work!
Hi Michael, thank you for the very kind words! Comments like this are the motivation to keep putting out content even if it gets only 27 views🤝💪🏻😁 I built myself also a Sampler with Scripting, and I agree with you: if you are just using drums, it's not really necessary to dive into the world of scripting)
Hey there, Thanks for the video I appreciate it! Just one thing I can't get my head around.. What if two drums had a different amount of RRs? When it has less, then it cycles through empty samples because it expects the most amount of robins from the whole kit. How would you get around this? Does every drum recording need the same amount of robins?
Mostly I create a different group for every instrument, so for example Kick Room mics could be 31, 32, 33 etc... and then Snare Room mics 41,42,43. In that way, you can adjust the round-robin based on how many samples you have and you also have complete control over the outputs, so you could create separate multichannel outputs for the kick room and snare room. Or, if you would prefer to keep mics of different instruments all in one group, but you have different amounts of robins, you could also duplicate some samples and rename them. fo example: if you have kick sample 1, 2, 3 and 4, but snare only 1, 2, then you could duplicate the snare samples and name them 3 and 4... this would have the same effect as creating more groups. it would be less setting up of Kontakt, but also you the file size would become larger and also you cannot route them individually. Hope that helps, let me know if you need any more help!
Thanks for the video! Could you please clarify for me how you would go about setting up milti mics via instrument busses AND having RRs. My understanding is that both would need samples to be in groups to achieve. However, RRs and mics would be in very separate groups. I can't seem to figure a way of getting one sample in two different groups to do this. Any help would be appreciated!
Hi @Dullaly. Here is the video that explains how to make RR and multi-mic setups: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dIHeS4gP7gg.html the video is not listed for now - I will make it public in January, but I thought it may be useful for you (and maybe someone else) right now, so just click the link to watch it.
@@MIX66.studio Thanks so much for the useful video! Do you still have the video linked above (about RR and multi-mic setups) available somewhere? It seems to be private/inaccessible. Thanks!
Thanks! ✌exactly that was my goal with this video, to show that you can achieve a great drum sound even when you have to record your drums in small rooms!
I love how you included the Sony Singstar microphones because those mics were what I used on my older drum covers, and even what I am using now for my reaction videos. With some tweaking, you will be surprise how great they actually sound.
I just used every mic I had at home when I recorded this video (it was actually a few years ago 😅). But I agree, even with the Singstar microphone you can get decent results. At the end of the day it's not about what tools you are using, but how you use them 💪🏻
