Digital vs Analog
I dont feel like typing my own sayings so Im just gonna copy and paste and regurgitate info
Where it all comes together
Digital mixers and digital audio workstations (DAWs) combine much of the functionality of mic preamps, analog mixers, analog-to-digital converters (ADCs), computerized mixing and editing software, and software plug-ins, all in one integrated unit.
As such, we can apply many of the basic gain staging tips and techniques for each of these individual components of a recording signal chain, which can be browsed via the hyperlinks provided above.
Digital vs. analog mixer
A digital mixer serves the same basic function as an analog mixer, but is different in three major ways:
First, most digital mixers can accept one or more types of digital inputs (S/PDIF, ADAT lightpipe, AES/EBU, etc.) along with the standard compliment of analog inputs (both line and mic.)
Second, the main outputs of digital mixers are usually in one or more digital formats such as the input types listed above, optionally along with computer-destined formats such as Firewire and USB (check the spec sheet or owner's manual for any given model of digital mixer to see what digital output options are available for any given model of digital mixer.)
While digital mixers typically have standard analog outputs for standard analog functions such as channel inserts, aux sends, and loudspeaker and headphone monitoring just like analog mixers, and sometimes may even be equipped with main analog output options, they are typically designed with mainly digital output in mind.
Third, digital mixers actually internally operate in the digital domain. After every trim/input gain control on every analog input is an ADC converting that analog input signal immediately to digital. All the internal EQs, reverbs, faders, mixing controls and other routing and processing functions are actually digital controls of digital signals.
Gain staging the input
As the only real analog components on a digital mixer are any microphone preamps and/or any line in trim/gain controls in the inputs, the general analog gain structure guidelines for such input controls as on any other analog device would still apply at that point. Beyond those controls however, every thing goes digital, and the rules change to those of the digital domain.
Gain structure inside the digital mixer
As with the converters on computer interfaces and soundcards, the ADCs in different makes/models of digital mixers don't necessarily all conform to a single dBu/VU-to-dBFS conversion standard. Additionally, digital gain levels can vary from digital component to digital component within the mixer. For example, turning an assignable knob on a digital mixer to 11 when it controls one digital function doesn't necessarily represent the same maximum variable dB range as turning that same knob to 11 when it controls a different function.
For these reason it's good to become as familiar with the mixer's included documentation on the internal gain structure of the digital mixer as possible. Many digital mixers come with excellent "level maps" in their documentation that graphically map out this internal gain structure in a very accessible way.
Digital output levels
The digital outputs on a digital mixer are nothing more than transport paths for carrying the digital information out of the mixer to the next device. Whatever the digital (dBFS) signal level is being sent out of the mixer is the level that will be received by the next digital device downstream. In general, we usually let these levels ride at whatever level they are at; there's no need to match any given line level anymore as we did in analog, we're only passing binary 1s and 0s now, and boosting or cutting at this point will only serve to potentially reduce headroom or dynamic range at the next stage.
The exception to this might be if one is outputting a finished master to a master recording device, then the levels might be set to correspond to the desired final levels, especially if the receiving recording device did not have digital input level controls.
Analog output levels
Because the digital mixer operates internally entirely in the digital domain, it must use it's own internal digital-to-analog converters (DACs) to convert it's signals back to analog before sending them out via any analog output jacks.
Here we have the same dBu-to-dBFS conversion calibrations to worry about as we do with it's ADCs, except in reverse. Most analog outputs on a digital mixer will be designed to operate at the commercial +4dBu line level, but exactly what reading in dBFS on the digital side of the signal path will correspond to a +4dBu analog voltage on the analog out will depend upon the exact calibration specification of that output's DAC. We need to once again check the mixer's documentation for that information.
Additionally, many digital mixers offer unbalanced or "pseudo-balanced" analog outputs for some of their analog routing functions that nominally ride at 6 decibels below line level (-2dBu). We need to be aware of these situations as well and expect adjust the inputs of the receiving analog gear accordingly.
Digital mixer metering
With the level of complexity in the internal gain structure of digital mixers, good metering is very important. For this reason, most digital mixers gives us the option to be able to assign their meters - whether they be on-board meters, or (preferably) their optional full-channel meter bridges - to just about any of the major signal path points within the mixer's signal path.
Once again, because of the complexity of options on digital mixers and difference between makes and models, we need to familiarize ourselves with the specific metering options (and their associated meter scales) available for any given digital mixer by referring to the model's metering documentation.
Recording in a DAW
Digital audio workstations (DAWs) operate much like compact digital mixers, but have the added feature of having a digital recorder (tape or hard drive) built right into the board. They make a nice all-in-one multitrack recording and mixing solution for those with budget or space constraints.
Many DAWs come with instructions to record our tracks as hot as possible without clipping; i.e. to get the peak levels as close to 0dBFS as we can without actually hitting 0dBFS. There are some historical and marketing reasons why they suggest this, but few (if any) of them are really that good. In today's world of 24-bit digital recording, purposely pushing our recording levels up to the brink is not only not necessary, but can be disadvantageous. See the gain browser section on hard disc recording for further explanation.
In order to help ensure the optimum balance between good dynamic range, good headroom and low noise, it's often best to get the analog input levels right and just let the converters do their thing; recording the digital tracks at the level in which they come out of the converter. If our signal is clipping coming out of the converter, then we should adjust for that by pulling back on the analong input gain.
I dont feel like typing my own sayings so Im just gonna copy and paste and regurgitate info
Where it all comes together
Digital mixers and digital audio workstations (DAWs) combine much of the functionality of mic preamps, analog mixers, analog-to-digital converters (ADCs), computerized mixing and editing software, and software plug-ins, all in one integrated unit.
As such, we can apply many of the basic gain staging tips and techniques for each of these individual components of a recording signal chain, which can be browsed via the hyperlinks provided above.
Digital vs. analog mixer
A digital mixer serves the same basic function as an analog mixer, but is different in three major ways:
First, most digital mixers can accept one or more types of digital inputs (S/PDIF, ADAT lightpipe, AES/EBU, etc.) along with the standard compliment of analog inputs (both line and mic.)
Second, the main outputs of digital mixers are usually in one or more digital formats such as the input types listed above, optionally along with computer-destined formats such as Firewire and USB (check the spec sheet or owner's manual for any given model of digital mixer to see what digital output options are available for any given model of digital mixer.)
While digital mixers typically have standard analog outputs for standard analog functions such as channel inserts, aux sends, and loudspeaker and headphone monitoring just like analog mixers, and sometimes may even be equipped with main analog output options, they are typically designed with mainly digital output in mind.
Third, digital mixers actually internally operate in the digital domain. After every trim/input gain control on every analog input is an ADC converting that analog input signal immediately to digital. All the internal EQs, reverbs, faders, mixing controls and other routing and processing functions are actually digital controls of digital signals.
Gain staging the input
As the only real analog components on a digital mixer are any microphone preamps and/or any line in trim/gain controls in the inputs, the general analog gain structure guidelines for such input controls as on any other analog device would still apply at that point. Beyond those controls however, every thing goes digital, and the rules change to those of the digital domain.
Gain structure inside the digital mixer
As with the converters on computer interfaces and soundcards, the ADCs in different makes/models of digital mixers don't necessarily all conform to a single dBu/VU-to-dBFS conversion standard. Additionally, digital gain levels can vary from digital component to digital component within the mixer. For example, turning an assignable knob on a digital mixer to 11 when it controls one digital function doesn't necessarily represent the same maximum variable dB range as turning that same knob to 11 when it controls a different function.
For these reason it's good to become as familiar with the mixer's included documentation on the internal gain structure of the digital mixer as possible. Many digital mixers come with excellent "level maps" in their documentation that graphically map out this internal gain structure in a very accessible way.
Digital output levels
The digital outputs on a digital mixer are nothing more than transport paths for carrying the digital information out of the mixer to the next device. Whatever the digital (dBFS) signal level is being sent out of the mixer is the level that will be received by the next digital device downstream. In general, we usually let these levels ride at whatever level they are at; there's no need to match any given line level anymore as we did in analog, we're only passing binary 1s and 0s now, and boosting or cutting at this point will only serve to potentially reduce headroom or dynamic range at the next stage.
The exception to this might be if one is outputting a finished master to a master recording device, then the levels might be set to correspond to the desired final levels, especially if the receiving recording device did not have digital input level controls.
Analog output levels
Because the digital mixer operates internally entirely in the digital domain, it must use it's own internal digital-to-analog converters (DACs) to convert it's signals back to analog before sending them out via any analog output jacks.
Here we have the same dBu-to-dBFS conversion calibrations to worry about as we do with it's ADCs, except in reverse. Most analog outputs on a digital mixer will be designed to operate at the commercial +4dBu line level, but exactly what reading in dBFS on the digital side of the signal path will correspond to a +4dBu analog voltage on the analog out will depend upon the exact calibration specification of that output's DAC. We need to once again check the mixer's documentation for that information.
Additionally, many digital mixers offer unbalanced or "pseudo-balanced" analog outputs for some of their analog routing functions that nominally ride at 6 decibels below line level (-2dBu). We need to be aware of these situations as well and expect adjust the inputs of the receiving analog gear accordingly.
Digital mixer metering
With the level of complexity in the internal gain structure of digital mixers, good metering is very important. For this reason, most digital mixers gives us the option to be able to assign their meters - whether they be on-board meters, or (preferably) their optional full-channel meter bridges - to just about any of the major signal path points within the mixer's signal path.
Once again, because of the complexity of options on digital mixers and difference between makes and models, we need to familiarize ourselves with the specific metering options (and their associated meter scales) available for any given digital mixer by referring to the model's metering documentation.
Recording in a DAW
Digital audio workstations (DAWs) operate much like compact digital mixers, but have the added feature of having a digital recorder (tape or hard drive) built right into the board. They make a nice all-in-one multitrack recording and mixing solution for those with budget or space constraints.
Many DAWs come with instructions to record our tracks as hot as possible without clipping; i.e. to get the peak levels as close to 0dBFS as we can without actually hitting 0dBFS. There are some historical and marketing reasons why they suggest this, but few (if any) of them are really that good. In today's world of 24-bit digital recording, purposely pushing our recording levels up to the brink is not only not necessary, but can be disadvantageous. See the gain browser section on hard disc recording for further explanation.
In order to help ensure the optimum balance between good dynamic range, good headroom and low noise, it's often best to get the analog input levels right and just let the converters do their thing; recording the digital tracks at the level in which they come out of the converter. If our signal is clipping coming out of the converter, then we should adjust for that by pulling back on the analong input gain.
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