suprstar
It aint ez being green
THAT is exactly right.. I've come to realize it's better to track quieter on purpose, anticipating the final mix to be at the perfect level with all your faders at zero.
THAT is exactly right.. I've come to realize it's better to track quieter on purpose, anticipating the final mix to be at the perfect level with all your faders at zero.
SouthSIDE Glen
independentrecording.net
There's no hard and fast rules here, there's several ways of skinning that cat. But here's just one of them from me:I wanted to know if theres any particular way I should go about bringing the levels down for the tracks cause I get confused on what to bring down how much. So any help/tips would be more than welcome!
First, I like to turn on the level, volume automation envelopes on all tracks at the start of a project, and set them all as an initial flat line of about 75-80% maximum track volume. This make automation mixing much easier. It also happens to drop overall volume by 20-25%, which seems to work well when summing a typical session of 12-20 simultaneous tracks or so.
If you've already got your mix pretty much put together and just need to pull down the gain, setting up or changing the automation envelopes is probably too much of a pain in the ass. In this case I just go to the master trim/gain control for each track - usually a numerical control in the left-side control box for each track - and turn each one down by maybe 2dB or so; or a much as necessary to recover the headroom, but it shouldn't usualy need to be more than a couple of dB per track. If your DAW software has the ability to group tracks, this can make this much easier by performing the volume change on the group.
What about the master faders? Call me old fashioned, but I'm just in the old fashioned habit of saving those for master fades and getting the mix right before the signal goes that far. Probably 90% of the people here will think I'm insane for saying that, though
.G.
R
RejectionNinja
New member
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