Ive got a question about headroom/levels. Lets say I track at around -16db(with the tracks volume turned down to these levels). After tracking I have all the proportions set between the instruments, EQ done and all that and I have the mix sitting still at about -16db. Now in order to prepare it for mastering I should get the mix to the -6 db levels. Is it OK to group all the tracks and using a single fader just raise the whole thing to -6db or should I raise each individual track just to reach that level ? The thing is: I think that Im messing up the levels at certain points during the project and I guess it kills the headroom. And then clipping occurs and other nasty stuff.
Question about levels during a mix
- Thread starter Tom-D
- Start date
Uros
Sonic Incision
The only thing the ultimately matters is to don't clip you master buss output, because after that it goes to D/A converters. You can use your group faders to raise/lower their outputs, no worries. Nevertheless, you will certainly benefit from not going over 0 dBFS into your plugins, because most of them don't react that well to overloading.
Having tracks peak at -16 dBFS is unnecessary IMO tho. I would recommend to have your tracks peak between -6 and -12 dBFS (and trying to maintain that level throughout the whole plugin chain on your tracks - meaning, match your input and output level on every plugin you use), and yes, not over -6 dBFS peak at the master buss.
Having tracks peak at -16 dBFS is unnecessary IMO tho. I would recommend to have your tracks peak between -6 and -12 dBFS (and trying to maintain that level throughout the whole plugin chain on your tracks - meaning, match your input and output level on every plugin you use), and yes, not over -6 dBFS peak at the master buss.
Oh, cool. So have the mix peak between -12 and -6 and when Im ready to master I can lift the whole thing to the -6 area with my group fader.
Could you elaborate more on this: "and trying to maintain that level throughout the whole plugin chain on your tracks - meaning, match your input and output level on every plugin you use" ? Thanks.
Could you elaborate more on this: "and trying to maintain that level throughout the whole plugin chain on your tracks - meaning, match your input and output level on every plugin you use" ? Thanks.
KHE
Member
i think he means that a track should have roughly the same volume when you disable a plugin. if a plugin boost/cut the tracks volume (for example, a comp with high or low make-up gain), the ears/brain will mostly like the louder more. you can fool yourself pretty easily this way 
Uros
Sonic Incision
No no man, you don't have to get your whole mix peak at -6, it's just some sort of reference point so you have a healthy dose of headroom for mastering. Personally, my master buss peaks at like between -10 & -6 dBFS, it's not mandatory to have your highest peak at -6.
@2nd question:
By that I mean if your track originally peaks at around -8 dBFS for example, try to have it peak at some similar value at the end, after inserted plugins. But don't just lower the output of the last plugin in the chain.
Some compressors, for example, don't have gain make up, so after you put them in the chain, you effectively lower the signal level, so you should try and get it 'back' with a trim plugin or something. Or vice versa, some tend to make your signal louder (CLA comps are like that, as far as I am aware).
I am just saying, try to get similar volume before and after every plugin ('unity gain'). That way you will maintain good level.
edit: yeah, what k.h.e. said
@2nd question:
By that I mean if your track originally peaks at around -8 dBFS for example, try to have it peak at some similar value at the end, after inserted plugins. But don't just lower the output of the last plugin in the chain.
Some compressors, for example, don't have gain make up, so after you put them in the chain, you effectively lower the signal level, so you should try and get it 'back' with a trim plugin or something. Or vice versa, some tend to make your signal louder (CLA comps are like that, as far as I am aware).
I am just saying, try to get similar volume before and after every plugin ('unity gain'). That way you will maintain good level.
edit: yeah, what k.h.e. said
Danny Drama
Member
- Jun 30, 2010
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Perhaps I've misread this, but if you're getting your recording level by just turning the track fader down then you're not really recording the signal at the lower level.
If the signal is going in at say, -5 and your fader is at -16, the signal is still being recorded at -5.
You might not be leaving yourself as much headroom as you think.
Edit: To elaborate, keep the fader at 0db, Unity. Set your recording level via your interface/signal source where applicable.
So basically the track with no FX should remain at the same volume after FX applied, right ? But what about compressors ? After I set it hard I need to add make up gain. So it would be better to raise the tracks volume rather add vol with the gain knob in the comp ?
@Danny Drama
Yes, thats exactly what Im doing. Thanks for claryifing that. In that case Im gonna adjust the level of the input with the fader at 0.
@Danny Drama
Yes, thats exactly what Im doing. Thanks for claryifing that. In that case Im gonna adjust the level of the input with the fader at 0.
Uros
Sonic Incision
I can't make it out if you are confused or not, but let's clear this up. Your channel fader regulates the level after all applied plugins, not before them (in Cubase there are two post fader insert slots tho). If you are using Cubase/Nuendo, use trim pot (right above the channel fader) if the track level is too hot/low. Use the channel fader only for balancing its level with other tracks in the project.
Danny Drama
Member
- Jun 30, 2010
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The channel faders attenuate output when not recording, so by all means use them post recording to lower or raise the output when you mix, tho personally I bus everything out to aux tracks and leave my recording track faders at unity always, just personal preference I guess. When recording they operate as nothing more than monitor level adjustment, they have no impact on the incoming signal, just the level you hear it back while recording.
By all means use the makeup gain in your compressors, it's why it's there! Just aim to get the signal coming out of the compressor close to what it was going in.
By all means use the makeup gain in your compressors, it's why it's there! Just aim to get the signal coming out of the compressor close to what it was going in.
OK. Uros, Danny Drama, k.h.e. thanks for clarifying those topics for me. I will use this information in my next project.
