![]() Now for fader headroom pull the fader down to -3 and add that 3 back to the Gain/Trim plug. Now with your fader at zero your channel is peaking at -18dBfs TP. So, for example, if your TP is -3 then set your Gain/Trim to -15. Subtract your true peak (TP from now on) from 18. Put a gain/trim first slot in your channel. ![]() ![]() It will measure TP and LUFS as you render. The ToneBooster plug will tell you the True Peak of the track without having to wait for real time measurement. Render to a dummy file (say Output.aif) you leave on your desktop at all times as a target tester. Make sure you are panned center, FX all off, fader set to 0 (infinity), bussed to Stereo Out. You can download Toneboosters EBU Loudness for free. I can't tell if that Hornet plug measures your true peak and reports it or if it actually adjust for it once or if it is contantly adjusting but if it is constantly adjusting your gain I can't help but think that is a recipe for disaster. Now you want to treat your levels as if you are dealing with hardware. I still hold to the adage that you should get the best signal you can without clipping. Make it strong green, make it yellow just don't make it red. About to the level of where your fader slider is when it's sitting on 0 (unity). There is zero clipping tolerance due to metering via dBFS. Secondly don't put so much weight on the recording level. It is not only an awesome meter it's one of my favorite meters but you don't need in the recording capture. If if it were me, I would forget the Klanghem when recording. The best of both worlds for managing levels. I really like the unison amp sims and mic pres through console so I often use these into my AVID I/O into my HDX system. Once I properly treated my room and setup accurate monitors the approach I take gets me more consistent results that translate. I am no expert and rules are meant to be broken, so if you get what you like then your good.Ī note a lot the amps SIMS today have the room/ mic position built-in so the Reverb isn't always as necessary. I will choose Reverb first often because i like to have the elements sound like they are in similar environments at different sound field depths however sometimes I will keep some things dry as a matter of preference for the overall sound. What you'll have then is a mix will full dynamic range.įrom this point it is all a matter of preference for mixing/producing, some might say it isn't.įrom here I pick the most important element to my mix, 99% of the time for me it's the drums because I am writing/composing to loops, (drum core, BFD, Xdrummer), then I work on the Reverb, fader levels, EQ, Dynamic range of the different elements. In theory you should not be clipping through the process. Then when i start to mix tracks together they will build up the overall, summed, RMS and Peaks on the master fader. The peaks are never perfect depending on the recording chain, I believe Bob Katz calls this RMS to Peak the Crest Factor, ( or something like that). I watch the peaks hoping for the -12 to -10 range and will go up to -18 if possible. My approach has been to get the RMS between -24 to -20 out of my converters into the first plugin going straight into a DAW the will trim accordingly. My preference is the Waves Dorrough meter for monitoring levels and I will drop it in and then remove it. It isn't clear to me that for plugins it is about resolution, that is more bit depth, rather plugins like their analog counter parts are designed with level in mind.
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