Norbury Brook wrote:I'm an rme owner but no longer user since getting my MR units. Without the control room don't you have to route every cubase Chanel to a separate output if you want to have different cue mixes via total mix?
With the control room and steinberg hardware you get easy cue mixes with zero latency with on board dsp FX.
Agreed, if I had steinberg hardware I would probably use the headphone mixes in Cubase Control room. AFAIK the Steinberg hardware is the ONLY way to get low/zero latency monitoring directly from Cubase on Mac.
For those who may be struggling with TotalMix's interface - yes, it is extremely complex, which reflects its power and flexibility. Luckily, they give you a shortcut, the Submix View.
Really, don't try to understand Totalmix without activating this little button, it's just too confusing.
In Submix View, the whole view relates only to one pair of outputs (the bottom of the three rows of faders). Click on the pair you want to see and mix to.
Then you set levels from your inputs (top row) and from your Cubase outputs (middle row) to those two outputs.
Then move on to the next pair of outputs.
You can easily send , say different levels of reverb, or completely different mixes, to each musician. Of course you need enough DA outputs to actually route these mixes - I have 16 outputs dedicated to studio headphone mixes (8 stereo mixes, driving 2 x 4 channel headphone amps.
It does get pretty complicated to send this many mixes into the studio, but it works. IMHO getting good headphone mixes is the single most important factor in getting the talent to play at their best. It's worth spending time on.
As Woodcrest says above, you can minimise monitoring latency in Cubase using the Constrain Delay Comp button, but it's always there to a greater or lesser extent. But worse, hitting this button disables the plug-ins on groups and this seriously messes with the mix, which is a bit of a pain.
Personally, I prefer not to have to deal with latency delays at all by doing all the monitoring through Totalmix. the only time I have to deal with it is when someone needs to play a VSTi - then I use small buffers and Constrain DC just for the recording, then switch it back on again after.
Note the above description of sending different mixes to each musician relates to recording several musicinas live in the studio. I'm not talking about sending different Cubase mixes to several headphones - that's possible with Total Mix, but as Norbury Brook says, you would need to route every Cubase channel (or at least the groups/stems) out of separate Cubase outputs. In reality, I rarely record more than one overdub at once, so it doesn't arise.
This is my studio workflow (or part of it) - it won't suit everyone. Try it if you like it.