While analog can be more forgiving to some extent, the practice of proper gain staging is just as critical as ever. Not enough gain earlier on in the chain, and you'll have issues with your noise floor as that noise is amplified further and further down the line. Too much, and you'll soon be living life in the red. This is another reason that you shouldn't "ride" gains, whether you're recording or mixing live: as you change gain at one part in the chain, it creates a sort of butterfly effect as you go down the line.
Adjustments in perceived volume should always be made via the fader or assigned level control. For more tips on getting the best sound every time, check out more from our resident "Angry Sound Guy. Aaron Staniulis is not only a freelance live sound and recording engineer, but also an accomplished musician, singer, and songwriter. He has spent equal time on both sides of the microphone working for and playing alongside everyone from local bar cover bands to major label recording artists, in venues stretching from tens to tens of thousands of people.
Having seen both sides at all levels gives him the perfect perspective for shedding light on the "Angry Sound Guy. Image via Shutterstock Let's say you're at a show or rehearsal and you turn to your amp, or perhaps your mixer, and you need to make something louder. Gain In general and in its simplest form I say that because sometimes these terms get somewhat misapplied in miscellaneous circumstances , gain is the parameter for the amount that some sort of amplifier circuit is going to increase the amplitude of an input signal amplifier, amplitude… I think I see where this is going.
Volume Volume level, or loudness, is typically manipulated by a knob or fader of some sort, and this affects the output headed from that channel of the mixer to whatever bus you've assigned it to, whether that's a group, an aux send, or the master bus.
Relating the two A simple and relatively visual way to think of these from a mixing perspective is that your gain is going to be your sensitivity. What about gain staging? Search Search Blog Get weekly updates on articles, gigs, and much more! Popular Posts. It was thought that printing hot digitally would prevent any degradation of the signal during the conversion process.
This is the default position almost every DAW. Faders have the most resolution right in the middle, so keeping them at unity is the optimal position. These numbers represent the amount of dBs that the signal is being attenuated when you move the fader. The actual dB adjustments you make as you pull the fader get smaller the further down the meter you get.
Think about it like this. Gain and volume both come into play here. The easiest solution is to grab all of the faders and turn them down! The same operation is similarly accomplished in any of the other major DAWs. Be sure to keep your stereo bus at unity, which is its optimum position!
You create headroom by adjusting the levels of tracks feeding the mix bus, not by attenuating the mix bus itself. Giving yourself that extra 10 or so dB of headroom will allow you to do common mixing tasks like adding parallel buses for compression, adding effects sends, and more. Remember to keep the faders at unity gain when tracking. What is Volume? Madeleine Amos. I write about music for RouteNote, sharing fun stuff, news, and tips and tricks for musicians and producers.
Also a saxophonist and hater of marmalade. Previous Instagram will stop promoting TikTok videos on Reels. How to get bigger on SoundCloud Try these tips to increase your plays and get more followers on SoundCloud, for free.
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