Unbelievable, you deserve 10x the subscriber count. Your knowledge, expertise, information and credentials are way better than any other “big” UA-camr. Thank you so much.
Another banger video. As someone who used to use foam….I agree with everything said lol. It RUINED my vocal recordings and I used to drive myself NUTS. It’s funny cause I recently moved into an apartment and now I just record in my open bedroom and my mixes/recordings are the best they’ve ever been.
Thank you for Sharing your thoughts on these Items. wasn't sure about some of them....Would you consider a room that's 17ft long, 9 feet wide, and about 9.5ft tall a good sized room for mixing? would it still be considered a small room?
My room is fairly small and mostly treated just really need bass traps, i find reflection filters like the s.e one or the aston halo do help clean vocals up an extra 20-40 percent. It would be almost entirely useless in an untreated room however, and these open reflection filters are entirely better than the heavy frequency changes you get from the microphone condoms
1st 10K-er here! I enjoyed this video. Matthew is an engaging speaker and I feel that his opinions give helpful insight. I rarely record vocals but I do have an 'own brand' reflection filter of a similar design to the SE Reflexion Filter PRO supplied by Studio Spares. I got best results by having additional absorption material opposite the mic, behind the vocalist, to whit - two solid pinewood doors joined together by hinges and draped with several of those dust sheets that painters and decorators use. With the hinge opposite the mic 4 or 5 feet away and the doors opened out just a tad beyond 90 degrees to make a kind of open booth. Good enough for my needs.
Thank you for speaking up about the auralex foam crap! 🙌 To me it’s almost a scam, dulls your highs and that’s all it does. People putting foam all over their room- deading the highs while leaving the rest untamed and often only making the room even more unbalanced than before. Foam is great, in the the inside of a case to protect your gear, otherwise crap. More videos like these are needed in the community!
Isovox would had been interesting to cover. Using it with the UAD mic modelling (through Townsend Lab Sphere L22). In the software, you can pick the Isovox and cancel out the damping that the headbooth does.
I always want the best capture in the first place, so I try to maximize what I have to work with. But if you have a de-noiser, a de-reverb, or even to a lesser extent a transient shaper, and you can find the right settings, you can get rid of some of what bad rooms does to ruin your recording.
Little comment on the mention of air-gaps for standard absorbers: The reason why airgaps are great is not that the wave is hitting the absorber twice. Classic porous absorbers have good efficiency for frequencies whose wavelength is four times the size or shorter than the thickness of the absorber. Or phrased differently - the absorber needs to be atleast Lambda/4 thick to absorb a frequency (lambda being wavelength). That is because these absorbers act as velocity absorbers, meaning they transform the velocity of sound into friction and thus heat and take the energy out of the room. A soundwaves velocity is highest at 1/4 and 3/4 of its wavelength. That’s why there is the requirement of thickness. So what you do with an airgap is moving you absorbing material away from the wall (where there is a pressure maximum, which does nothing for velocity absorbers) and move it towards the velocity maximum of lower frequencies, thus extending the range of low frequencies your Absorber can effectively absorb. You somewhat damage the absorbing properties for higher frequencies whichs velocity maximum now might nolonger be within the absorbing material, but since these frequencies usually aren’t as problematic in a room, air gaps are usually recommended.
Interesting video! I have a question: Reflexion Filters are typically talked about in the context of recording vocals, but I mainly play wind instruments (both brass and woodwind). I don't have access to a room treated for recording. The room I use when recording (my room at work) is treated to allow a trumpet to be played loudly in it despite the small size of the room - in other words it's not a good sounding space, but there are things on the walls that reduce the volume of the sound in the room. (It's built for trumpet lessons, not for sound recording.) You can tell I'm not a sound engineer and I don't have the ears to be able to identify how to make my recordings better. (Besides playing better, of course.) I rely almost completely on the built-in presets in Logic when I do my recording projects. My current project is big - I'll be playing a full symphonic wind band by myself, so it'll be over 30 tracks when it's done... I typically record my tuba with a D112 and more or less everything else with a Beta57a. Would investing in a Reflexion Filter be a good idea for my use case, or a waste of money?
"Algorithm protein" ... watching now and have a SE Electronics - Specialized Portable Acoustic Control Environment Filter (RF-Space). My *ENTIRE* space (12 x 12) ready for construction. I've been using temporary treatment with sound dampening blankets covering my studs w/Rockwool Safe & Sound in a DIY. This Subject has been so daunting, I've consumed over 100 hours of content to make a firm decision for early spring construction. Thanks for the content Matt! Forehead on desk moment ... *sigh*
Nice video .... I had similar experiences with the eyeball that led to not using it anymore. Would be nice to hear your opinion about De-verb plugins especially the latest ones from Waves vs SPL de-verb? Is there any significant improvement with the latest AI stuff onboard?
@@WeissAdvice Well, I had a cheap reflection filter ($90 USD) and I couldn't get good takes, in fact it was worse than not using it, because the comb filtering problem occurred, practically impossible to solve it in the mix. Then I got the Aston Halo and I made the corrections of positioning it in a better place in the room, I placed auralex acoustic panels behind the Aston Halo and my takes have improved a lot... I still have problems with dark and harsh voices, I suspect it is due more to the nature of my microphone (Rode NT1-A). The good thing is that it can be corrected more easily in the mix.
What do you think of the GIK Portable Isolation Booth? It seems like it's a bigger, more robust version of the sE Reflexion Filter, with all the strengths and weaknesses. I have one, and it's helped, but it hasn't entire solve my issues. For one thing, it's not a fully surrounding booth. I'm thinking of getting another one, setting one in front of me and one behind me, and draping acoustic blankets between them. That way, I have absorption on all sides. Not a substitute for a great room, but a decent solution while I'm working on my room.
GIK is a pretty reliable company, but it does still LOOK to have some of the same functional problems. Typically you want to gobo behind the source, not behind the mic, because the capsule is facing the source. But I've never used it. Maybe it has enough dimension to cut down on the echoes enough.
@@WeissAdvice It is worth to buy dynamic microphone to my bedroom studio right now I am using condenser with kaotica and I am not satissfied with resoults
I've always found it to be better to get the space/room how you want before hitting record. Reverb removal plugins can work, but they don't beat getting the recording right the first time. What are you recording?
Commenting for the algorithm. Haven't watched it yet, but I can say that eyeball makes vocals very boxy. I'm sure it can be corrected with special eq plug-ins but I try to steer people away from it that's not experienced with the sound.
@@PharaohLawLess1 honestly man all of these devices are worse than just standing in a room with a mic. Terrible comb filtering. These small spaces are the worst. A ball, a box, etc. Way too small. Even a whisper room is way way too small
Nothing beats good ol' insulation material like OC 703 rigid fiberglass or Denim insulation. And also actual diffusion pieces - which is not absorption, but very under utilized and often times more useful.
I'm not sure if this guy should be allowed to be around microphones... I don't even want to think about what he may put them through when the recording session ends... talking about a microphone hollywood me too senario... 14:1714:2011:39 horror 😥
Unbelievable, you deserve 10x the subscriber count. Your knowledge, expertise, information and credentials are way better than any other “big” UA-camr. Thank you so much.
Another banger video. As someone who used to use foam….I agree with everything said lol. It RUINED my vocal recordings and I used to drive myself NUTS. It’s funny cause I recently moved into an apartment and now I just record in my open bedroom and my mixes/recordings are the best they’ve ever been.
Thank you for Sharing your thoughts on these Items. wasn't sure about some of them....Would you consider a room that's 17ft long, 9 feet wide, and about 9.5ft tall a good sized room for mixing? would it still be considered a small room?
My room is fairly small and mostly treated just really need bass traps, i find reflection filters like the s.e one or the aston halo do help clean vocals up an extra 20-40 percent. It would be almost entirely useless in an untreated room however, and these open reflection filters are entirely better than the heavy frequency changes you get from the microphone condoms
Thanks Mr Weiss, it's a bit of a mine field, with this stuff. Thanks very much
1st 10K-er here! I enjoyed this video. Matthew is an engaging speaker and I feel that his opinions give helpful insight. I rarely record vocals but I do have an 'own brand' reflection filter of a similar design to the SE Reflexion Filter PRO supplied by Studio Spares. I got best results by having additional absorption material opposite the mic, behind the vocalist, to whit - two solid pinewood doors joined together by hinges and draped with several of those dust sheets that painters and decorators use. With the hinge opposite the mic 4 or 5 feet away and the doors opened out just a tad beyond 90 degrees to make a kind of open booth. Good enough for my needs.
Thank you for speaking up about the auralex foam crap! 🙌 To me it’s almost a scam, dulls your highs and that’s all it does. People putting foam all over their room- deading the highs while leaving the rest untamed and often only making the room even more unbalanced than before. Foam is great, in the the inside of a case to protect your gear, otherwise crap. More videos like these are needed in the community!
Agreed. Auralex is right on the line of scam.
Isovox would had been interesting to cover. Using it with the UAD mic modelling (through Townsend Lab Sphere L22). In the software, you can pick the Isovox and cancel out the damping that the headbooth does.
I always want the best capture in the first place, so I try to maximize what I have to work with. But if you have a de-noiser, a de-reverb, or even to a lesser extent a transient shaper, and you can find the right settings, you can get rid of some of what bad rooms does to ruin your recording.
Little comment on the mention of air-gaps for standard absorbers: The reason why airgaps are great is not that the wave is hitting the absorber twice. Classic porous absorbers have good efficiency for frequencies whose wavelength is four times the size or shorter than the thickness of the absorber. Or phrased differently - the absorber needs to be atleast Lambda/4 thick to absorb a frequency (lambda being wavelength). That is because these absorbers act as velocity absorbers, meaning they transform the velocity of sound into friction and thus heat and take the energy out of the room. A soundwaves velocity is highest at 1/4 and 3/4 of its wavelength. That’s why there is the requirement of thickness.
So what you do with an airgap is moving you absorbing material away from the wall (where there is a pressure maximum, which does nothing for velocity absorbers) and move it towards the velocity maximum of lower frequencies, thus extending the range of low frequencies your Absorber can effectively absorb. You somewhat damage the absorbing properties for higher frequencies whichs velocity maximum now might nolonger be within the absorbing material, but since these frequencies usually aren’t as problematic in a room, air gaps are usually recommended.
Crazy, I definitely learned something here.
so what you you recommend MrTinka
Interesting video! I have a question: Reflexion Filters are typically talked about in the context of recording vocals, but I mainly play wind instruments (both brass and woodwind). I don't have access to a room treated for recording. The room I use when recording (my room at work) is treated to allow a trumpet to be played loudly in it despite the small size of the room - in other words it's not a good sounding space, but there are things on the walls that reduce the volume of the sound in the room. (It's built for trumpet lessons, not for sound recording.)
You can tell I'm not a sound engineer and I don't have the ears to be able to identify how to make my recordings better. (Besides playing better, of course.) I rely almost completely on the built-in presets in Logic when I do my recording projects. My current project is big - I'll be playing a full symphonic wind band by myself, so it'll be over 30 tracks when it's done...
I typically record my tuba with a D112 and more or less everything else with a Beta57a. Would investing in a Reflexion Filter be a good idea for my use case, or a waste of money?
does the eyeball fit over rectangular shaped mics, like the AKG 414?
"Algorithm protein" ... watching now and have a SE Electronics - Specialized Portable Acoustic Control Environment Filter (RF-Space). My *ENTIRE* space (12 x 12) ready for construction. I've been using temporary treatment with sound dampening blankets covering my studs w/Rockwool Safe & Sound in a DIY. This Subject has been so daunting, I've consumed over 100 hours of content to make a firm decision for early spring construction. Thanks for the content Matt! Forehead on desk moment ... *sigh*
It's a lot, no question there.
Where is the part with the eyeball
Needed this thanks a lot
Nice video .... I had similar experiences with the eyeball that led to not using it anymore. Would be nice to hear your opinion about De-verb plugins especially the latest ones from Waves vs SPL de-verb? Is there any significant improvement with the latest AI stuff onboard?
Once again, great video sir. (VOE ENT Recordings).
Very insightful!
04:45 GOLD!
Great advice. in my case, I own Aston Halo and my room sorrounded by the "shitty" auralex foams 😂😂. Should I improve it? What are you thoughs?
Should you improve it? Are you getting the results you want?
@@WeissAdvice
Well, I had a cheap reflection filter ($90 USD) and I couldn't get good takes, in fact it was worse than not using it, because the comb filtering problem occurred, practically impossible to solve it in the mix.
Then I got the Aston Halo and I made the corrections of positioning it in a better place in the room, I placed auralex acoustic panels behind the Aston Halo and my takes have improved a lot... I still have problems with dark and harsh voices, I suspect it is due more to the nature of my microphone (Rode NT1-A). The good thing is that it can be corrected more easily in the mix.
literally...a couple of mic stands and some packing blankets will do a much better job than a Kaotica Eyeball. And probably for cheaper.
What do you think of the GIK Portable Isolation Booth? It seems like it's a bigger, more robust version of the sE Reflexion Filter, with all the strengths and weaknesses. I have one, and it's helped, but it hasn't entire solve my issues. For one thing, it's not a fully surrounding booth. I'm thinking of getting another one, setting one in front of me and one behind me, and draping acoustic blankets between them. That way, I have absorption on all sides. Not a substitute for a great room, but a decent solution while I'm working on my room.
I have 2 of them. But I also use them in a treated room to create a larger vocal booth. I make sure a treated wall is behind me.
GIK is a pretty reliable company, but it does still LOOK to have some of the same functional problems. Typically you want to gobo behind the source, not behind the mic, because the capsule is facing the source. But I've never used it. Maybe it has enough dimension to cut down on the echoes enough.
Great thoughts can vouch it’s all true.
I have a 14feet x 12 feet room. Can it be considered as a Short space?
Hi Weiss, on this regard, what judgment do you have about Clearsonic acoustic panels (i.e. the S2446x2)?
So which choice will be better for untreated room dynamic mic or condenser with one of the products which you presented?
Typically dynamic mics perform a little better in untreated spaces as they side and back reject more than condensers.
@@WeissAdvice It is worth to buy dynamic microphone to my bedroom studio right now I am using condenser with kaotica and I am not satissfied with resoults
How do you feel about Waves DeReverb plugins for a untreated room ? or plugins in that nature ?
I've always found it to be better to get the space/room how you want before hitting record. Reverb removal plugins can work, but they don't beat getting the recording right the first time. What are you recording?
sometimes it works, sometimes not so much. Too much of it always causes "space monkey" artifacts, which is not ideal.
Commenting for the algorithm. Haven't watched it yet, but I can say that eyeball makes vocals very boxy.
I'm sure it can be corrected with special eq plug-ins but I try to steer people away from it that's not experienced with the sound.
the algorithm appreciates your comment LOL
What do you think about the IsoVox2?
Trash
@@OZKitchen Ok Is there an alternative than the IsoVox 2?
@@PharaohLawLess1 honestly man all of these devices are worse than just standing in a room with a mic. Terrible comb filtering. These small spaces are the worst. A ball, a box, etc. Way too small. Even a whisper room is way way too small
Auralex is crap, but what do you recommend?
Nothing beats good ol' insulation material like OC 703 rigid fiberglass or Denim insulation. And also actual diffusion pieces - which is not absorption, but very under utilized and often times more useful.
Did you forget to cut the the last few seconds lol
comb filter dance 🕺& raw doggin the mic 😂 funny af man
No more plugin brands reviews?
There will be.
Raw dogging is always better
Aston halo should have been added to this product list.
if I had more experience with the product, I would have included it.
I'm not sure if this guy should be allowed to be around microphones... I don't even want to think about what he may put them through when the recording session ends... talking about a microphone hollywood me too senario... 14:17 14:20 11:39 horror 😥
haha microphone condom, i love you man XD
very nice informative video btw
raw dog the microphone LOOOOOOOOOOOOOOL I jusst died with that one
very nice authentic and spontaneous video, I really liked that format
@@BazzguitAgreed!
oh no!... not raw dogging with the mic. 🤣🤣🤣
😂😂😂😂😂😂😂
Iconic Mars comet Pro is better.
Hell nah
It be great with some pics of what you're talking about. Not everyone is as educated as you.. 🙂