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In extreme cases, where you have a project in which all the sources are incredibly hot, you might think about batch processing the files by lowering all the faders and bouncing the results in place (freeing up an insert slot in the process), but I wouldn't suggest doing this as part of your routine mix project setup. Re: X32 Gain Sharing 2 consoles and 2 S16's « Reply #2 on: May 25, 2014, 04:47:32 am » so you are saying you have independent gain control -- my understanding of the HA split is that you set the initial preamp gain on one console & then each console … Increase the volume of quiet parts and decrease the volume of the loud parts to get a more balanced output. However, the mastering process strips off the headroom margin that was present during tracking and mixing.

Sounds with drastic changes in dynamics will give you quite and loud levels.

What this gives you are different ballistics for automation from the previous option (depending on the DAW and the plug-in, of course).

First we’ll talk about analog gain staging, then we’ll talk early digital, and after that, we’ll cover the glories of our modern epoch. If that's what you want, you'll need to use the meters on your plug-in processors and effects, or dedicated metering plug-ins. Legendary tape reverbs like the Echoplex EP-3 and Roland Space Echo included a preamp, which acted as a boost - hence why Nick Zinner from Yeah Yeah Yeahs has a tapeless Space Echo in his setup. You can also keep track volume faders at 0 dB for the highest resolution and then use a gain plugin to adjust levels.

It then travels through each plugin in the device chain before reaching the track volume control. Here, Cubase's channel meters have been configured to show red at -10dBFS, yellow down from -10 to -18dBFS, and green below that. Q. Say you’ve got a drum mix you like—the balance is great; the processing sound awesome—but the drums push the whole mix into the red. Some DAWs allow you to customise your channel meters.

Despite the immense power and flexibility available in modern digital audio worstation software, many people still find that the mixes they craft entirely 'in the box' sound unsatisfying. In practice, reverence for the digital ceiling looked relatively simple—at least, for the common mortal who didn’t want to get too deep into mathematical concepts: just treat the process as you did in the analog world.

If you don't understand gain structure, you may be undermining your recordings and mixes without even realising it. Gain staging is one of the most important steps to getting a pro sounding mix. Here we come across terms like “headroom” and “noise-floor.” You don’t want to be hovering too close to the noise-floor; you want to drown it out. But understanding how to manage your gain structure could make a huge difference to the quality of your mixes — and avoiding fundamental mistakes early on in your mixing career will save you countless wasted hours and a lot of frustration as you learn. Anyone unaware of this might assume that the aim is to produce a raw mix that hits 0dBFS and has an average level up around -6dBFS, or whatever! If you take the sound with the highest peak levels and set it so that it peaks at between -12 and -18dBFS, you shouldn't run into problems with plug-ins or summing on the mix bus.

The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. If you don't understand gain structure, you may be undermining your recordings and mixes without even realising it.

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Maintaining healthy track levels is vital.

The other options are less confusing.

There are obviously many things that can go wrong, and Mike Senior's Mix Mistakes article in SOS September 2011 (/sos/sep11/articles/mix-mistakes.htm) did a better job than I have space for here of exploring many common pitfalls. The sample-peak meter indicates the amplitude of the highest audio sample at any moment in time, and provides an approximation of the actual peak level of the reconstructed audio waveform.

Many people like to start a track with a software drum machine and overdub other parts as they build a composition and mix, all as part of the same process. Even with particularly high peak-to-average ratio sources such as a loud snare drum, the peak may be 'gracefully' clipped by the analogue circuitry — in the digital domain, by contrast, clipping produces anharmonic distortion which sounds very ugly. Also, use a gain plugin when there are no input or output controls available. However, you can make use of those almost-useless peak meters.

It also ensures the track level remains consistent when bypassing an effect. This may affect how the drums hit any processing on the master bus.

What is gain staging and how can it improve your mixdowns.

But if you just want to learn about gain staging specifically, keep reading. Logic’s fader, on the other hand, only moves in 0.1 dB increments, which may help or hinder you. These’ll help you get the most out of each mix. PHONE (So this is really about manual tactile controllability, not 'mix resolution' as such.)

If the plugin doesn’t have an output control, insert a gain plugin after it. That's a shame, as you don't have any indication at a glance from your DAW's mixer screen without having the plug-in GUIs open.

Analogue-modelling plug-ins, in particular, seem susceptible to this sort of abuse: they often do a great job of mimicking the sonic behaviour of their hardware equivalent in its normal operating range, but start to fall down when you push them outside that range. That’s some digital distortion right there. So far, I've assumed that you're doing all your mixing in the box.

Aiming for yellow will give a good healthy signal while leaving sufficient headroom.

This step allows you to accurately assess whether the plugin is improving the sound or making everything louder.

A typical mid-budget computer interface will deliver exactly the same dynamic range, and even budget ones will manage 115dB or more. I've seen plenty of online discussions in which seasoned engineers are shocked by the ignorance of many would-be engineers about managing signal levels.

This is most definitely not the case. Then, I can bring it back into the DAW and show you what it sounds like level-matched to the unaffected test tone. Plus, that list of considerations will surely come in handy. Some plug-ins, including the pictured one by Zplane, enable you to mimic the more useful analogue VU and PPM meters — but there's no practical way to display these readings for all your mixer channels simultaneously! Digital systems always had an “analogue” to analog—a similar, though not identical point of no return: It’s called 0 dBFS (0 decibels full scale), and it describes the highest possible level in the digital world you can achieve without clipping (incurring terrible distortion).

You can bypass each plug-in in turn to check levels at each stage.

Other times, however, you wanted this at the beginning of your mix, but by the end of the process, a horrid noise trips you up; such distortion could very well be the culprit. The first is 'shouty' presets. Lastly, turn up your monitors if your mix is too quiet. Why -6dB? There were issues in getting these good results: go for something too quiet, and you’d approach the noise-floor (a blanket of constant, audible hiss that, if present in the overall mix, would be distracting).

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