quote:

Originally posted by Kthought RANN's got the right advice. I also thought that the audio summing (and dithering, if used) will yield a different result if the master fader is not at unity gain (0dB). that is, the algorithm is changed, and your resolution will be applied to quieter parts in the mix, upon export. I think this question is posed to rann.

Not quite sure what the question is but I think you're referring to the theory of loss of bit depth with the master at a lower level.

While true in primitive digital systems, it doesn't make a shade of difference with 32 bit float as you have over 1500db of headroom meaning you won't hear distortion even at the lowest settings on the fader.

I remember some test where this guy put his master fader only one notch above infinity (off) then put like 8 gain plugins on his intstrument track in series and jacked them all up with a test sound on that track.

Zero distortion - it sounded completely clear as if the two tracks were gained correctly and unity was maintained on the master.

Maybe, there is a subjective difference based on how a particular DAW itself handles the processing on an export with the master below unity, but in theory, it really shouldn't matter becuase of how much internal headroom fully digital 32bit float systems have.

The exceptions are of course that some plugs don't operate at higher bit depths and not everyone's daw is 32 bit float.

Is that what you meant?

kthought, osmo, etc....... GIVE UP ALREADY!

If you have master low but the gain structure of the other faders means the track is hitting -0.1 it will come out -0.1

AHHHHH =P

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Processing a highly structured and complex pattern of sensory input as a unified percept of "music" is probably one of the most elaborate features of the human brain.....understanding how music is perceived and how it may elicit intense sensations is far from being understood.

It sounds like you are overcomplicating things for the man.

Sometimes i dont mix right and my levels are wrong and it peaks to high so i just put a gain plug-in on my master as the first in the chain. eg. gain -> compressor -> EQ -> limiter.

Adjust gain to suit and done.

This is on Logic, i assume its the same on Cubase.

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I lowered my master on FL and everything sounds nice. If FL9 had a feature where you could lower all mixer volumes together then I wouldn't need to lower the master. I could lower each channel independently but my mixdown is perfect and lowering each one at a time would ruin the mix.

I believe you're better off examining your individual tracks and resolving the gain issues on the channels that are running hot, not just making everything softer via the master vol. That is my advice in a nutshell.

Sonic my point is that if you pull the master fader down to resolve clipping problems you are lowering your entire mix, even the parts that are already softer than the clipping threshold, so you may end up with no clipping by lowering the master, but the softer parts of the track will be reduced aswell when you don't want them to be.

The peak output level of each export done either way may be the same as you say, but that's not my point.

Surely when tackling a clipping issue you only want to adjust the channels/parts that are causing the issues, and leave the rest alone, to preserve the dynamic range of the mix.

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quote:

Originally posted by DJ RANN Is that what you meant?

Precisely, thanks for clarifying that.

Give up?

Im not having any trouble with my mixes, and havent touched a master fader in years. I was merely deepening the topic discussion. Procuring fud for thought.

hmm..what about lowering the master and raising the softer parts of the track?

that could work, but it might be more difficult than you think - unless your soft parts happen to have their own channels and constant volume throughout your tune.. which i think is unlikely.

even if it is, will your next tune be the same? probably not.. so better practice is to find & cut the peaks down rather than trying to raise the rest up to compensate for adjusting the master volume.

say you've got a drums channel with some loud crash cymbals on it, start by putting a compressor on that channel set to soften the peak of the crash cymbal without affecting anything else in the mix. Approach it step by step like that and it won't matter what tune you're working on the skills you learn will always apply.

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quote:

Originally posted by DJ RANN WFT? This again? Pulling down the master fader for an ITB situation is technically not an issue in a DAW because it's a 32 point floating system and there's no resolution loss by doing so. However, it's kind of bad practice for the following reasons: 1, If you even have to use analogue hardware, pulling down down the master is an absolute no-no unless you really are a ninja. 2, Why would you need to? Pulling down your track faders has exactly the same outcome as pulling down the master, so don't be lazy, get your mix right in the first place. 3, On some DAw's the plugins return on them master channel are post fader, meaning if you pull it down your balance of tracks vs Master FX is going to be screwed. 4, You could overloading a track or the bus, and if you are, pulling down the master will just make it quieter, not fix the digital distortion you've just introduced.

1/ Not an issue if you use the bussing solutions provided for integrating external hardware in most DAWs these days. They allow you to set the gain on the way out and reset it on the way back in to allow for the correct levels to hit the analogue stage.

2/ Its neccesary in cases where your DAW doesn't have a quick solution to pull down all channels at once. Ever tried to pull down 24 channels by exactly 6 db in live 7? Its a pain.

3/most DAWs have an option to set returns post or pre fader, if you use it, then you can account for this. If your mix sounds different after doing something, and you don't like it, then one assumes that you'll go through and fix it.

4/ Its impossible to overload tracks and busses in a 32 FP audio engine AFAIK. This also assumes your plugins have that headroom as well of course, but most do these days. You'd know better than me on this, but that was my understanding?

There are cases when this sort of thing is appropriate, especially in the stages before the final mixdown. I generally have given up on worrying about it all, I like the extra resolution on the meters that you get when they're peaking up near 0 dB, as opposed to down near -6, so thats where I get my track peaking to. I like the sound of the way I do it, and technical arguments about bit depth and such silliness are just that IMO, silliness.

Of course, I generally do keep my master at unity now that ableton 8 allows you to adjust the faders of all tracks at once, but its not unusual for me to do some funny gain staging, involving dropping the master through an EQ or gain plugin going into my compressors and limiters when I'm mastering, which I do in the same session as the mixing

@ the OP, I recommend you put a gain plugin on your track and reduce the gain by 6dB, if that doesn't work you'll have to rework the mix or you won't have enough room on the channel faders to boost some of them high enough.

And of course, all this advice only really applies if you have 64 bit plugins and a 32 bit DAW and stuff...

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quote:

Originally posted by Osmodiar that could work, but it might be more difficult than you think - unless your soft parts happen to have their own channels and constant volume throughout your tune.. which i think is unlikely. even if it is, will your next tune be the same? probably not.. so better practice is to find & cut the peaks down rather than trying to raise the rest up to compensate for adjusting the master volume. say you've got a drums channel with some loud crash cymbals on it, start by putting a compressor on that channel set to soften the peak of the crash cymbal without affecting anything else in the mix. Approach it step by step like that and it won't matter what tune you're working on the skills you learn will always apply.

See, I generally find that people who say all this stuff about leaving faders at unity generally try and control their gain through overuse of compression. If it came to dropping the master gain VS throwing compressors on all the peaking tracks, I'd take the option of dropping the master gain and having some dynamics left in my tracks thanks very much.

I don't use compressors (other than sidechain) on any tracks coming out of a synthesiser, and not on any bought samples either. Its all squashed to start with

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Yes obviously compressing the shit out of everything is not the answer either, thats taking the idea to the extreme which i'm not suggesting.

If you've put a track together with some care you shouldn't need to use that much compression, i just prefer atleast attempting to reduce the spikes before resorting to lowering the volume of the whole mix.

Seriously how often does the easy way out ever give you the best results?

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quote:

Originally posted by kitphillips 1/ Not an issue if you use the bussing solutions provided for integrating external hardware in most DAWs these days. They allow you to set the gain on the way out and reset it on the way back in to allow for the correct levels to hit the analogue stage.

Definitely an issue if you're using an analogue desk, or infact nay analogue gear with a gain pot or fader - complete no-no ubless you really know whaz you're doing. Yes for outboard used with A DAW as the mixer, you can control the send output of course, but that's got nothing to do with the track fader per say.

quote:

Originally posted by kitphillips 2/ Its neccesary in cases where your DAW doesn't have a quick solution to pull down all channels at once. Ever tried to pull down 24 channels by exactly 6 db in live 7? Its a pain.

Cubase, logic, sonar and PT can all link tracks - Live 7 is cack if you can't and therfore in the limited minority.

quote:

Originally posted by kitphillips 3/most DAWs have an option to set returns post or pre fader, if you use it, then you can account for this. If your mix sounds different after doing something, and you don't like it, then one assumes that you'll go through and fix it.

True for normal tracks but on the master of Logc and PT (not sure about the other DAWs) the sends are only prefader meaning you stuck with it.

quote:

Originally posted by kitphillips 4/ Its impossible to overload tracks and busses in a 32 FP audio engine AFAIK. This also assumes your plugins have that headroom as well of course, but most do these days. You'd know better than me on this, but that was my understanding?

That's exactly right, but digital distortion will be present if you overload a track and your master is at unity gain. The only way to resolve it is to pull the master down or the track down.

In this case, pull the track down.

The main thing is that there's just no need to pull down the master. The advantages of doing it, are greatly outweighed by the functional disadvantages such as affecting you gain staging, monitor calibration and export levels, not to mention the more anecdotal problems it causes such as teaching you to use someothing that will land you in trouble if you ever have to work on an analogue desk and teachin you not properly balance your tracks to unity output.

quote:

Originally posted by kitphillips There are cases when this sort of thing is appropriate, especially in the stages before the final mixdown. I generally have given up on worrying about it all, I like the extra resolution on the meters that you get when they're peaking up near 0 dB, as opposed to down near -6, so thats where I get my track peaking to. I like the sound of the way I do it, and technical arguments about bit depth and such silliness are just that IMO, silliness. Of course, I generally do keep my master at unity now that ableton 8 allows you to adjust the faders of all tracks at once, but its not unusual for me to do some funny gain staging, involving dropping the master through an EQ or gain plugin going into my compressors and limiters when I'm mastering, which I do in the same session as the mixing @ the OP, I recommend you put a gain plugin on your track and reduce the gain by 6dB, if that doesn't work you'll have to rework the mix or you won't have enough room on the channel faders to boost some of them high enough. And of course, all this advice only really applies if you have 64 bit plugins and a 32 bit DAW and stuff...

Totally agree. I just don't change it and always go back to the track balance if the master is clipping. My signal chain is calibrated so there's no danger of me ever worrying about level of output, must tonal quality. It just keeps it simple for mixing, so I can get as complicated as I want.