on Mar 29, 2016 in Recording & Production 0 comments

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At all stages of audio production it's important to ensure audio signals are at their optimum levels. Joe Albano explains 5 common gain staging mistakes many producers make and how to avoid them.

Dec 30, 2019 Questions & Answers. Recent questions tagged gain staging +21 votes. 1 answer 124 views. Update the VU meter insert. Studio one 4.5; gain staging; 0 votes. 0 answers 68 views. Peak and rms metering - numeric value display. Asked May 28, 2019 in Mixing by Daw Stew (3,720 points) studio one 4.5; mixer console; faders.
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One question about gain staging: is It safe to do that on the file itself, rather than the clip(s)? In Logic, here is what I do: 1. Open the Editor 2. In the Editor window, go to “File” 3. Select the whole waveform or only a portion of it 4. Functions – Change gain – Search maximum – Adjust to desired level.
Jun 09, 2019 A quick way to gain stage using the new channel input controls and meter settings in Studio One 4.5. For gain staging with a VU meter, check this out: https.

Gain-Staging is one the most important aspects of audio signal flow, even though many people are unfamiliar with the concept. It’s the practice of insuring that audio signals are at the optimum level at all times, as they pass through the various processors and mixer stages. Of course, professional engineers have always known how critical this is in the analog world, to guarantee a clean signal at the end, free of excess noise or overload distortion. But given the extremely high headroom of modern DAWs (thanks to their internal 32-bit floating-point resolution), engineers and mixers often assume that they no longer have to worry about these concerns. However, the practice of careful gain-staging is still an important part of any recording or mix session—if it’s not handled properly, even with the expanded headroom of a modern DAW, problems can occur. Here are five basic gain-staging mistakes you’ll want to avoid.

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Gain Staging 101: Begin at the Beginning Step 1: Setting the Trim. Step 2: Setting the EQ and Dynamics. Step 3: Setting Your Mix. Step 4: Mains.

1. Don’t Ignore Plug-In I/O Gain

Most plug-ins have input and output gain controls that are provided to allow the user to adjust the signal level coming into the processor, and the level exiting the plug-in. By default, these will always be set at Unity Gain, and they don’t necessarily have to be changed—if the incoming signal is at a suitable level, and the processing doesn’t drastically change that level of the outgoing signal, then it’s best to just leave them alone. But often, the incoming signal won’t be at the best level, and the plug-in’s processing may alter that level to a significant degree, and that’s when you’ll want to utilize these level adjustments.

There are various reasons why an incoming signal might be at an inappropriate level. The level might have been changed at a previous stage in the processing chain, or the audio file may have been recorded at too high, or too low, a level to begin with. An especially hot signal may be more than a certain plug-in is expecting, and reducing the input gain would yield better processing results—a good example would be a compressor, or any dynamics processor. If you’re used to dialing up, say, certain Threshold settings that you know should work well, a signal that’s abnormally hot or low in level may not react as expected, making the job of getting just the right degree of effect that much more difficult. When the incoming level is a problem, you’ll want to fix that at the first step in the plug-in chain, utilizing any Input Gain control the plug-in provides (although some DAWs also have a Region/Clip Gain feature, which allows non-destructive adjustment of the audio file’s level on a per-region/clip basis, before it hits the first insert slot—another way to properly gain-stage the signal). Once the optimum input level has been set, you’ll want to maintain that level from insert to insert, so any time you remove or bypass an effect, the level of that track in the mix remains consistent.

Another good example of the need for this involves the use of EQ. When you set a large boost or cut, not only does the tone change, but the overall level is altered as well. Ideally, you’ll want to be able to use the Bypass button to compare the original and the processed versions of the signal, but a big level difference would make that kind of direct A/B’ing ineffective (the louder version always seems to sound better, at first blush). Not to mention, if the level of the track in the mix has already been set, then a noticeable level change from drastic EQ will ruin that balance. You could tweak the level at the Channel Fader, but then if you decide to momentarily bypass, or remove the effect for any reason, the mix is again out of whack. Using any Output Gain control the plug-in offers will adjust for the level change incurred within that processor at the proper place in the chain.

Fig 1 An EQ’s Output Gain (trim) control compensates for a big boost

That’s what gain-staging is, in practice—optimizing the level at the input and output of each step in the processing chain (real or virtual). In the digital domain, you may not necessarily suffer noise and distortion issues if you fail to do this, but it’s good practice, and will ensure a smoother flow as a session or mix progresses. Diablo 3 skidrow torrent.

2. Don’t Mix Up I/O Gain And Effect Gain

To continue with the theme of using a plug-in’s Input and Output level knobs, you’ll want to be aware of the difference between those kind of general-purpose gain-staging controls, and more specific gain controls that may be part of a plug-in’s processing section itself. The most obvious example of this would be guitar amp simulators. Modeled after real amps, they’ll usually have an input level control, typically labeled Gain, or Drive, and an output level control, often labeled Master Volume. But these two gain knobs are part of the effect—they’re designed not to be used for gain-staging, but to push the signal into the virtual overdrive sections of the model (the simulated preamp and poweramp tubes, respectively).

Fig 2 Input & Output controls (yellow) trim the signal level before & after the effect’s gain controls (orange)

In fact, to get the desired, and expected, response (one that effectively simulates the range of effect of the original amp), you’ll want to adjust the incoming signal before it hits the model’s gain controls, to insure that the plug-in sees an incoming signal at the typical level a guitar signal would be at in the real world (many amp sim makers, especially the ones whose plug-ins also include separate Input and Output controls for gain-staging purposes, will provide recommendations for proper input levels in their documentation, to ensure that users will get the best sound out of the modeled amps).

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Studio One 4 Gain Staging