What is your recording level DBFS?
- Thread starter jaynm26
- Start date
I like 'track view in Sonar, meters horizontal 'RMS+Peak. With the scale set 'zero to -24 range when the body of the sig is just popping up into view it's a go. That's 20, 24 or so headroom for peaks.
You can 'manage a 16 track project in a single view from across the room. Works great. Done.
You can 'manage a 16 track project in a single view from across the room. Works great. Done.
Farview
Well-known member
Here's the thing, the peak to rms ratio is going to be different with every instrument. Going for an RMS of -18dbfs is a great idea, but if you are recording drums, the peak will be clipping by the time you get -18db rms.
I tend to record around -18dbfs rms and just let the peaks fall where they may. If something is getting too close to clipping, I back off the gain until it gets down around -4 to -6dbfs and get on with my life.
I tend to record around -18dbfs rms and just let the peaks fall where they may. If something is getting too close to clipping, I back off the gain until it gets down around -4 to -6dbfs and get on with my life.
Good point Farview
Dogbreath
Im an ex-spurt
this.
I used to overly stress on the tracking levels but figured out that it's a bit more forgiving than I thought.
So I just track around -20 to -18 and let er fly.
Bristol Posse
Okey Dokey
I usually shoot for around -15dBFS RMS since that is line level on my converters (RME fireface) and the peaks end up where they may
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Massive Master
www.massivemastering.com
Thank Jeebus for this sort of stuff... I swear, five years ago it would've been "As close as I can get to full scale without clipping on everything" and I would've been pulling the rest of my hair out if I had any that I could actually grab...
I pay no attention to where my levels come in at. As long as it doesn't clip, I'm fine with it. I probably track a little hotter than internet wisdom says to, but I'm not running it up to the red whenever possible either. I don't really care. I am entering a new "phase" though with my own recording practices, so part of my new policy will be to track a little lower and pay closer attention to where my signals come in. If my mixes get better, then good. If they don't, then tracking level is one less thing to fuss over and I can go back to not giving a shit about it.
Ethan Winer
Acoustics Expert
RMS / Average refers to how loud something sounds. But analog and digital circuits are limited by peak voltage levels. So when recording the only thing that matters is the peak level. If the level is large enough to exceed the recording medium's noise floor, and not so loud it causes clipping anywhere in the signal path, then you're good to go.
--Ethan
grimtraveller
If only for a moment.....
I've no idea where the levels are when I record. On my DAW the recording level is set by the preamp knob and it just has a load of dots running in clockwise fashion from 7 to 5 o'clock. So depending on what I'm recording, I just make sure it doesn't clip. Sometimes I go for a high level, sometimes I go for a low level. It's all moroccan roll to me in the long run and it's also now 2013.
Happy new trousers, to one and all.........
RawDepth
New member
I looked in the manual for my A/D converter and it says, Input level for 0 dBFS = +12 dBu (You've got to consider that analog gear is designed such that when the signal is at 0 dBu, it is the loudest it can be driven without any audible distortion. If it is pushed above 0dBu, distortion becomes measurable and more noticeable as it ramps upward.)
So, I figure that I am safe to peak at roughly -10dBFS (digital) before any distortion begins to occur in the analog section of the converter.
So, I figure that I am safe to peak at roughly -10dBFS (digital) before any distortion begins to occur in the analog section of the converter.
RawDepth
New member
OH. Are they not the same thing? (0dBu and 0dbVU)
Bristol Posse
Okey Dokey
No, most pro audio gear is calibrated that 1.228 volts = +4 dBu (line level) where you reach the point of maximum S/N performance with minimum THD and reads as 0VU on the meters. As you push into the headroom you may get added THD depending on the circuit
If your converter is calibrated that +12dBu is maximum input level and = 0dBFS, then line level (+4dBu) or 0VU would read on your DAW meters as -8dBFS. so if you want to be recording at line level you should be shooting for RMS levels of -8dBFS which doesn't leave a lot of headroom
If you are not using any outboard gear with peak performance at line level ahead of the converter (I'm assuming the preamps are built in to the interface) the you really shouldn't have too much of an issue where ever you decide to set your levels so long as you do not clip
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RawDepth
New member
Oh yes, Farview was right. I suppose I was speaking about VU readings.
I use an RME HDSP9652 interface which I have expanded to include 8 analog line-ins. I use those for external mic pres. (It also has ADAT ins which I use with my Octopres and such, but they have their own converters.) The RME analog line-in expansion card is where I got the specs from.
In post #12 above, I was attempting to talk about the analog (line-in) portion of my converters possibly introducing some distortion if the level is too high, (above +4dBu.) Let's say that the recording meter is peaking somewhere above -8dBFS but below 0dBFS. Are you guys saying that the converter itself will not distort?
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Farview
Well-known member
The converter itself doesn't distort until you reach 0dbfs. The analog signal path leading up to the converter chip can distort, depending how the converters are calibrated. For example, if the converters were calibrated so that line level = -30dbfs (exaggerated example), then clearly you Mic preamps would distort long before clipping the converter. More than likely, the preamps wouldn't even be able to clip the converter in that example.
I aim to record at -18 dbfs on moderately loud peaks (probably 80% as loud as it goes on material with dynamic range). Occasional transients or sections going a little beyond this doesn't concern me. Of course, I'll have people "play it as loud as you can!" to judge where things should be set at. This can be subject to change if the preamp gain "likes" a slightly hotter signal and I cannot attenuate it post-gain. Whatever sounds best and provides good headroom, and can be easily exported to a hardware mixing setup.
Of course, I haven't recorded anything serious in about 3 years and haven't been near a console in that long, so at this point that's hardly a concern.
Generally -18 dbfs. If playback needs to be louder that's what the "monitor" knob is for.
Of course, I haven't recorded anything serious in about 3 years and haven't been near a console in that long, so at this point that's hardly a concern.
Generally -18 dbfs. If playback needs to be louder that's what the "monitor" knob is for.
Stands for dB Full Scale, that is the dB metering for digital software. VU is Volume Units mainly for analog hardware, and then you have dB which is a logarithm for power & amplitude so dBFS, dBVU & , dBu