Dope! Yeah kick is that instrument that drives the whole mix for me. I tend to think the kick is more percussive and transient, depending on the kick, and of course, if the sample used isn’t or is heavily processed already. If it’s processed from a sample pack it def has more RMS energy than a clean sample. I try to use kicks that aren’t super processed which is why transients need to be tamed to bring up more of the beef of the kick. Good stuff!
@@daxhammayup, I use to do that with a lot of Reason samples, but then I learned to just clip them in the software and print them. It took me years to get out of distortion paranoia
This is awesome! I've seen some other influencers use Clipping especially on BD and Snare to do the exact thing as you shared with Limiting. So I would like to know your perspective on using one over the other. This is so useful! Thanks!!!
Thanks for watching! I use clippers all the time. I def use them on kicks, busses and the mixbus. Will make a video soon on which ones I use and how I use them!
@@daxhamma Wow, this was informative young man.. I like it, the content was outstanding. Some of that I was aware of and the other well, the hihat part, that was a lightbulb moment. My first time watching, I learned something actually pretty deep too.. Thank you young man..
@@JTFuller man this comment is why I’m pursuing making these videos. I’m encouraged that you had that lightbulb moment watching one of my videos. Happy it helped you!
Good information here. So, drum bus peak at -6dbs and instrument bus -6dbs? For hip-hop the vocals should level with the Kick and snare, and for rock vocals should sit behind the Kick and snare?
Thank you! For hip hop, at least for me personally, kick at -6, snare -10, hats -18, instruments between -18 and -15. Vocals I usually try to set between -10 and -6. Can’t really say for rock as I mix mainly hip hop and if I mixed rock I fear it would sound too hip hop with the low end 😂 But I do think these levels are a good starting point for most because it’s closely based off the level I read in the mixing book I showed in the video, which probably has a bias toward rock influenced music
@@daxhamma that’s what I was thinking. I have a similar book. But when it comes to setting the levels on the actual buses versus just the instruments, that’s where my problems kick in. 😅
@@213hudson so because the kick is the loudest element in the mix, the drum bus will peak at -6 for me. Any voltage added from combining signals like hi hats or bass over the kick I just shave off with a clipper, which will tame the peaks. So my mixbus is hitting -6 as well before it goes into any processing
Hi there. This is obviously a very effective method. What i personally always struggle with is how to go about balancing each and every instrument in the beat. I always find it confusing to the point that i may be mixing up those concepts (gain staging vs balancing). let's say i use those values to get good levels going in before i even start reaching for plugins. I often find myself wondering if i didn't quite understand if this is supposed to be a initial or final step as in at the end of the mix this is where every channel should peak at. Because looking at my individual channel meters (obviously not pre-fader ones) i 'll find that I'm already decreasing those values once i start touching the faders. A small enlightenment about this will be appreciated.
Thanks for watching, and I’m glad it helped! Let me see if I can add some more clarity for you. So, the levels I set for example, for the kick (-6dB), bass (-10/-12dB), and snare (-10dB) are my gain staging levels before adding any processing. Some people use clip gain, others use trim on a plug-in, but something needs to be used to bring levels down to a manageable level where nothing is clipping the individual channels or the mixbus. The method I used in the video helps me achieve an initial balanced mix before I start mixing and adding plugins because they make everything sound good and balanced before I even start really mixing. After adding plugins, I might adjust levels if needed. I’m using Plugins to enhance sound, not raise levels, so I control peaks and increase density, sometimes lowering or raising levels from the initial setup. These values I mentioned are definitely not meant to be static after that initial balance. For me, they just tend to still sound good there so I stay within that ballpark. Balancing really happens after gain staging, but for me, I kind of combine that with balancing in the beginning for my workflow The drums usually stay at their preset levels while plugins shape tone and RMS energy without changing peak values. Hope this helps!
Forgot to mention: if you gainstage at -18 Peaklevel, your CPU has to work a lot more since you have to turn up EACH plugin. You save CPU power with higher gainstaging, best -18 Average level. -18 peak is too low for the plugins to sound best as well.
Love how everyone has their own workflow. Q: As you set these levels, and as they reach the master bus, do you go back and adjust to those predefine levels you have in the mix? Taking in consideration that as you keep adding instrumentation, the levels at the master bus start trending hotter. Great content, Bro!
Thank you!! I made a part 2 to this video that may have some added value for your question. Hope it helps! th-cam.com/video/7SGrw-4ePf8/w-d-xo.htmlsi=n0X2NRfb1eoyHghX
Sure! It's the 5th edition. Pages 82-84. And just to clarify, I got my idea form this method. I don't do it exactly this way, but just took this approach and formulated something that works for me, but the idea of setting levels is similar.
@@daxhamma So this is so insightful, I thought that's what you meant, but I wasn't sure. I guess I worded my question wrong. But anyhow, now that I understand that it wasn't straight from the book, could I ask a petition? I'd really appreciate it if you could do a breakdown of picking levels, like you hinted at in part 2 of this series. Like you mentioned Kick and Snare, but what do you do for Vox, melodic and supporting instruments? I ask cause I really think the way your mixes sound is the 1st time I've heard someone explaining a version of this process and I actually thought "yeah, that makes sense". So I'd really like to hear the rest of your thought process on leveling, if that makes sense. By the way, I've been doing this for a minute, but I always look to improve and do things better. I appreciate you fam.
Absolutely! Vocals and melodic instruments are tricky cause they’re so dynamic. So the goal for me is to get vocals peaking initially around -10 to -6, and try to control dynamics and whatnot as much as possible. It’s never perfect though. For me, vocals in particular are more by ear. I like the turn the speakers all the way down until you can barely hear anything, and if you hear the vocals and the music, you’re probably in pocket approach. Instruments vary depending on how much rms energy is in them. The confusion is that I keep these melodic instruments at that -18. I only gain stage there cause I know it gives me a good balance with everything else. After adding compression, EQ, saturation, etc, that number may rise or fall. All depends on the instrument. Hope that helps!
So would it be safe to setup an ash in a bus and apply the L1 and mix the original & final processing thru it as a gain stage limit to achieved desired level?
Thanks for your question! I def wanna help but I’m I don’t think I’m understanding it right. But let me give it a go and let me know if I got it. I think you are asking about putting a limiter on a bus where signals are feeding into? Like a drum bus? And having them hit a limiter set at a certain value, like -6? If so, yeah that’s what I do. Either with a limiter or a clipper.
Absolutely level match. Definitely recommend that. The numbers I have were an idea from that book that stated to level set with that as the starting point. Everything for me falls under the kick, which is my anchor element. Whether the instruments hit at -18, or -10 or whatever is all up to how it sounds in the mix. I just tend to think the original level setting values still sound good. So for example, if I have a hi hat level set for -18, then I add processing (comp, EQ, saturation) and it increases the RMS level, it often still sounds good peaking at or around -18 in my mix, in comparison to the rest of the drums. Hope that makes sense
@@daxhamma Ive tried this method and for some reason after setting the levels you said my mixbus isnt hitting at -6 its hitting at -3.7. What am i doing wrong?
So here's what I'm thinking it is. Here's a scenario...You have your kick at -6 on the kick channel. The kick is routed to a drum bus. With just the kick playing the drum bus is hitting -6. The drum bus is routed to the mixbus. That too should be hitting -6 still, as long as there's no processing applied. So when it comes to the drum bus, you have snare, hi hats, open hats, crashes, etc. These, when played with the kick will cause a level increase due to the signals being combined at the drum bus. This will surely raise the peak level by a couple dB or so, depending on how loud the other elements are playing. This should reflect the same at the mixes so far. Now, you have bass, 808, whatever. This for me, is routed to a drum and bass channel. So I take my drum bus, route it to a channel that combines with the bass. When that plays over the kick, you will also get a level increase, which will reflect at the mixbus. Lastly, any instruments most likely cause a spike in peak level at the mixbus when combined as well. So the answer here is to either put a limiter or clipper at each stage (on the drum bus, on the drum bass bus, and the mixbus), set the ceiling of the clipper to -6 and any signal that peaks over will be shaved down. This is strictly for peak control, but clippers will also introduce a sound, and a punch that is usually desired. This can and most likely will eventually cause some audible distortion depending on the clipper, but it may sound good still. The other thing to do (or do this in combination with the clipper) is to put a limiter on each stage, and if the signal increases, lets say at the drum bus, by 1.5 dB, adjust the limiter to peak at -6 still (for me it's because I just like -6 until my mixbus processing). So with this example, using the Waves L1, I will see the input signal hitting -4.5 instead of -6. I will adjust the threshold, driving -4.5 into a -6 ceiling. Sure, I will lose some level, which is why I like using a clipper to help shave some peaks and retain the level. My mixbus processing ends with The God Particle, which is said to have a sweet spot at -5. So I could set my whole mix up to be -5 instead of -6, but I just have some OCD for -6 I guess lol. Works better mathematically for my brain. Hope that helps. I will make another video detailing this process soon!
Mate, I see problems here. Analogue plugins should be hit around -18 on ALL channels. I use a Klanghelm VU-meter for -18 AVERAGE for each channel. The peak levels are totally secondary here. If it clips, then turn it back a bit on the last plugin in the channel or use a limiter or clipper. This is gainstaging when all plugins are hit at -18 average, not peak. Then the mixing begins using the faders that were all at 0. I would only use limiters on melodic instruments, clippers on drums. Limiters and clippers change the sound, thus it is problematic to use them as default gain levelers. If you gainstage at -18 average, not peak!, you have a general headroom of -4 on the two-bus (if clippers and limiters are used to reduce the peaks). Gainstaging at -18 peak is sounding different and the plugins are not hit hard enough.
Thank you for your comment; I appreciate your feedback! I don't disagree with your points. I've also used the Klanghelm VU meter and find the plugin quite enjoyable. However, what if you're not using analog-modeled plugins? While I agree that your approach is good practice, I don't believe it makes a significant difference if you're not aiming for the purity and authenticity offered by a specific analog plugin, along with the adjustments required for percussive instruments, as the VU meter reacts differently to instruments with more transient versus those with more RMS energy. I don't want to assert that the VU meter method is the only way to gain stage, (as I've seen arguments for and against it, and many people hold differing perspectives), and other methods aren't viable alternatives. This is simply the method that has worked for me and my workflow, and I'm sharing it here based on my experiences. I don't claim that my approach is law in the mixing world; it's just my perspective. I do enjoy gain staging with VU meters, and I'm open to changing my approach to try new techniques or reverting to old ones. Cheers!
@@daxhamma thanks mate. I am not a pro and needed 2 years to get to my approach or longer. I use a lot of analogue emulations and my cpu performance increased in logic. I am still learning. Could remix my songs every month...🤧
I’m not sure what the point of this is though. Most analog plugins are designed to sound optimal at -18. The faders are for setting levels. If you’re using analog emulation plugins it’s probably best to gain stage with a VU meter set to -18. Then there’s also Andrew Scheps who doesn’t gain stage whatsoever. Now, I can see your method working pretty well if you’re doing your initial gain staging in pre fader mode, and then setting those levels post fader. I don’t know. Ultimately, I don’t think it all really matters that much in the digital domain. Whatever works best for you is what you should do.
Thanks for your input! I appreciate your perspective on gain staging. The point of the video was to demonstrate a method that I find effective, and works for me. I came across it in the mixing engineers handbook and felt that those levels were a good starting place for where I think instruments sound best for my mixes when setting levels. It helps me get the mix going a lot quicker and helps keep me organized so when I arrive at my mix bus, everything is more under control. You're right that many analog emulation plugins are designed to operate optimally around -18 dBFS, and using a VU meter to set this level can be very helpful. My approach in the video is meant to simplify the process for me and if someone else finds it interesting, to try it and see if it works for them. I’m aware Andrew Scheps doesn’t gain stage but knowing a plethora of other engineers that do, it goes to show there's no one-size-fits-all in mixing workflows. Ultimately, as you said, what works best for each individual is what they should use. I appreciate you taking the time to share your thoughts. Thanks again!
@@daxhammaall good! Honestly, I don’t know why I commented. I think I was just having mental diarrhea. Definitely not saying your method is wrong, obviously. I think I was just trying to wrap my head around it. I actually do something similar. I just do it at the end of the chain instead of the beginning. I set my initial levels with a VU, and then I keep my peak levels the same as I add plugins. Then I add a limiter or clipper at the end of the chain with the output set to whatever I had the peak level set to, and I pull the threshold down until I’m getting 1 to 3 db’s of reduction. It’s basically just an easy way to squeeze a little more loudness out of my tracks in a relatively transparent way. I’m pretty sure I got the idea from Scheps. Cheers!
Good stuff! I actually was considering doing a video gain staging with a VU. I just always think it’s challenging using it when it’s percussive instruments like hats or even snares because they can be so transient, that they’d clip the VU plugin before I get anywhere near 0. But I’m sure it helps with analog modeled plugins. At this point for me, I’m just having fun experimenting, taking ideas from all engineers, finding my thing and what works best for me. Cheers!
@@daxhamma yeah the drums, especially the kick, can never make it to zero dbvu because they’ll clip the dbvs meter. I actually just found this Short👇 while looking up Bob Owsinski’s method. It give’s credence to what you’re doing. He uses a VU meter while also setting the dbvs meter to -6, just as you stated. th-cam.com/users/shortsnsUtKnPnL_c?si=XPRbzpTBaGBItLLy
A myth that significantly helps my workflow! Works for some, not for others 🤷🏼♂️ At the end of the day, as long as the mix sounds great that’s what matters. Cheers!
I talked about the anchor method on an old video of mine. Except I kick the kick at -12 since a kick is usually RMS anyways
Dope! Yeah kick is that instrument that drives the whole mix for me. I tend to think the kick is more percussive and transient, depending on the kick, and of course, if the sample used isn’t or is heavily processed already. If it’s processed from a sample pack it def has more RMS energy than a clean sample. I try to use kicks that aren’t super processed which is why transients need to be tamed to bring up more of the beef of the kick. Good stuff!
@@daxhammayup, I use to do that with a lot of Reason samples, but then I learned to just clip them in the software and print them. It took me years to get out of distortion paranoia
This is awesome! I've seen some other influencers use Clipping especially on BD and Snare to do the exact thing as you shared with Limiting. So I would like to know your perspective on using one over the other. This is so useful! Thanks!!!
Thanks for watching! I use clippers all the time. I def use them on kicks, busses and the mixbus. Will make a video soon on which ones I use and how I use them!
@@daxhamma Wow, this was informative young man.. I like it, the content was outstanding. Some of that I was aware of and the other well, the hihat part, that was a lightbulb moment. My first time watching, I learned something actually pretty deep too.. Thank you young man..
@@JTFuller man this comment is why I’m pursuing making these videos. I’m encouraged that you had that lightbulb moment watching one of my videos. Happy it helped you!
Good information here. So, drum bus peak at -6dbs and instrument bus -6dbs? For hip-hop the vocals should level with the Kick and snare, and for rock vocals should sit behind the Kick and snare?
Thank you! For hip hop, at least for me personally, kick at -6, snare -10, hats -18, instruments between -18 and -15. Vocals I usually try to set between -10 and -6. Can’t really say for rock as I mix mainly hip hop and if I mixed rock I fear it would sound too hip hop with the low end 😂 But I do think these levels are a good starting point for most because it’s closely based off the level I read in the mixing book I showed in the video, which probably has a bias toward rock influenced music
@@daxhamma that’s what I was thinking. I have a similar book. But when it comes to setting the levels on the actual buses versus just the instruments, that’s where my problems kick in. 😅
@@213hudson so because the kick is the loudest element in the mix, the drum bus will peak at -6 for me. Any voltage added from combining signals like hi hats or bass over the kick I just shave off with a clipper, which will tame the peaks. So my mixbus is hitting -6 as well before it goes into any processing
@@daxhamma
Do you know what would be the levels for psydub/dubstep/drrum n bass ganre?
Hi there. This is obviously a very effective method. What i personally always struggle with is how to go about balancing each and every instrument in the beat. I always find it confusing to the point that i may be mixing up those concepts (gain staging vs balancing). let's say i use those values to get good levels going in before i even start reaching for plugins. I often find myself wondering if i didn't quite understand if this is supposed to be a initial or final step as in at the end of the mix this is where every channel should peak at. Because looking at my individual channel meters (obviously not pre-fader ones) i 'll find that I'm already decreasing those values once i start touching the faders. A small enlightenment about this will be appreciated.
Thanks for watching, and I’m glad it helped! Let me see if I can add some more clarity for you. So, the levels I set for example, for the kick (-6dB), bass (-10/-12dB), and snare (-10dB) are my gain staging levels before adding any processing. Some people use clip gain, others use trim on a plug-in, but something needs to be used to bring levels down to a manageable level where nothing is clipping the individual channels or the mixbus. The method I used in the video helps me achieve an initial balanced mix before I start mixing and adding plugins because they make everything sound good and balanced before I even start really mixing.
After adding plugins, I might adjust levels if needed. I’m using Plugins to enhance sound, not raise levels, so I control peaks and increase density, sometimes lowering or raising levels from the initial setup. These values I mentioned are definitely not meant to be static after that initial balance. For me, they just tend to still sound good there so I stay within that ballpark.
Balancing really happens after gain staging, but for me, I kind of combine that with balancing in the beginning for my workflow The drums usually stay at their preset levels while plugins shape tone and RMS energy without changing peak values.
Hope this helps!
Forgot to mention: if you gainstage at -18 Peaklevel, your CPU has to work a lot more since you have to turn up EACH plugin. You save CPU power with higher gainstaging, best -18 Average level. -18 peak is too low for the plugins to sound best as well.
Love how everyone has their own workflow. Q: As you set these levels, and as they reach the master bus, do you go back and adjust to those predefine levels you have in the mix? Taking in consideration that as you keep adding instrumentation, the levels at the master bus start trending hotter. Great content, Bro!
Thank you!! I made a part 2 to this video that may have some added value for your question. Hope it helps!
th-cam.com/video/7SGrw-4ePf8/w-d-xo.htmlsi=n0X2NRfb1eoyHghX
Can you tell me what section is this in the mixing engineers handbook? Really appreciate fam
Sure! It's the 5th edition. Pages 82-84. And just to clarify, I got my idea form this method. I don't do it exactly this way, but just took this approach and formulated something that works for me, but the idea of setting levels is similar.
@@daxhamma So this is so insightful, I thought that's what you meant, but I wasn't sure. I guess I worded my question wrong. But anyhow, now that I understand that it wasn't straight from the book, could I ask a petition? I'd really appreciate it if you could do a breakdown of picking levels, like you hinted at in part 2 of this series. Like you mentioned Kick and Snare, but what do you do for Vox, melodic and supporting instruments? I ask cause I really think the way your mixes sound is the 1st time I've heard someone explaining a version of this process and I actually thought "yeah, that makes sense". So I'd really like to hear the rest of your thought process on leveling, if that makes sense. By the way, I've been doing this for a minute, but I always look to improve and do things better. I appreciate you fam.
Absolutely! Vocals and melodic instruments are tricky cause they’re so dynamic. So the goal for me is to get vocals peaking initially around -10 to -6, and try to control dynamics and whatnot as much as possible. It’s never perfect though. For me, vocals in particular are more by ear. I like the turn the speakers all the way down until you can barely hear anything, and if you hear the vocals and the music, you’re probably in pocket approach. Instruments vary depending on how much rms energy is in them. The confusion is that I keep these melodic instruments at that -18. I only gain stage there cause I know it gives me a good balance with everything else. After adding compression, EQ, saturation, etc, that number may rise or fall. All depends on the instrument. Hope that helps!
@@daxhamma this is exactly what I was looking for! You're dropping nuggets here, thanks fam 👏👏
@@Hive5ive Glad it helped you! Just out here trying to share all I’ve learned and am still learning 😀
So would it be safe to setup an ash in a bus and apply the L1 and mix the original & final processing thru it as a gain stage limit to achieved desired level?
Thanks for your question! I def wanna help but I’m I don’t think I’m understanding it right. But let me give it a go and let me know if I got it. I think you are asking about putting a limiter on a bus where signals are feeding into? Like a drum bus? And having them hit a limiter set at a certain value, like -6? If so, yeah that’s what I do. Either with a limiter or a clipper.
So we don't have to level match after adding processing to our Individual sounds just as long as the mixbus is still hitting at -6?
Absolutely level match. Definitely recommend that. The numbers I have were an idea from that book that stated to level set with that as the starting point. Everything for me falls under the kick, which is my anchor element. Whether the instruments hit at -18, or -10 or whatever is all up to how it sounds in the mix. I just tend to think the original level setting values still sound good. So for example, if I have a hi hat level set for -18, then I add processing (comp, EQ, saturation) and it increases the RMS level, it often still sounds good peaking at or around -18 in my mix, in comparison to the rest of the drums. Hope that makes sense
@@daxhamma I appreciate the clarity
@@xaronwhite5376 for sure!
@@daxhamma Ive tried this method and for some reason after setting the levels you said my mixbus isnt hitting at -6 its hitting at -3.7. What am i doing wrong?
So here's what I'm thinking it is. Here's a scenario...You have your kick at -6 on the kick channel. The kick is routed to a drum bus. With just the kick playing the drum bus is hitting -6.
The drum bus is routed to the mixbus. That too should be hitting -6 still, as long as there's no processing applied. So when it comes to the drum bus, you have snare, hi hats, open hats, crashes, etc. These, when played with the kick will cause a level increase due to the signals being combined at the drum bus. This will surely raise the peak level by a couple dB or so, depending on how loud the other elements are playing. This should reflect the same at the mixes so far.
Now, you have bass, 808, whatever. This for me, is routed to a drum and bass channel. So I take my drum bus, route it to a channel that combines with the bass. When that plays over the kick, you will also get a level increase, which will reflect at the mixbus.
Lastly, any instruments most likely cause a spike in peak level at the mixbus when combined as well. So the answer here is to either put a limiter or clipper at each stage (on the drum bus, on the drum bass bus, and the mixbus), set the ceiling of the clipper to -6 and any signal that peaks over will be shaved down. This is strictly for peak control, but clippers will also introduce a sound, and a punch that is usually desired. This can and most likely will eventually cause some audible distortion depending on the clipper, but it may sound good still.
The other thing to do (or do this in combination with the clipper) is to put a limiter on each stage, and if the signal increases, lets say at the drum bus, by 1.5 dB, adjust the limiter to peak at -6 still (for me it's because I just like -6 until my mixbus processing). So with this example, using the Waves L1, I will see the input signal hitting -4.5 instead of -6. I will adjust the threshold, driving -4.5 into a -6 ceiling. Sure, I will lose some level, which is why I like using a clipper to help shave some peaks and retain the level.
My mixbus processing ends with The God Particle, which is said to have a sweet spot at -5. So I could set my whole mix up to be -5 instead of -6, but I just have some OCD for -6 I guess lol. Works better mathematically for my brain. Hope that helps. I will make another video detailing this process soon!
Reaper has àn action where you can normalise all tracks to -23 at once.
That’s cool! Haven’t tried reaper. Definitely nice to have something that can do a function like that all at once.
Mate, I see problems here. Analogue plugins should be hit around -18 on ALL channels. I use a Klanghelm VU-meter for -18 AVERAGE for each channel. The peak levels are totally secondary here. If it clips, then turn it back a bit on the last plugin in the channel or use a limiter or clipper. This is gainstaging when all plugins are hit at -18 average, not peak. Then the mixing begins using the faders that were all at 0. I would only use limiters on melodic instruments, clippers on drums. Limiters and clippers change the sound, thus it is problematic to use them as default gain levelers. If you gainstage at -18 average, not peak!, you have a general headroom of -4 on the two-bus (if clippers and limiters are used to reduce the peaks). Gainstaging at -18 peak is sounding different and the plugins are not hit hard enough.
Thank you for your comment; I appreciate your feedback! I don't disagree with your points. I've also used the Klanghelm VU meter and find the plugin quite enjoyable. However, what if you're not using analog-modeled plugins? While I agree that your approach is good practice, I don't believe it makes a significant difference if you're not aiming for the purity and authenticity offered by a specific analog plugin, along with the adjustments required for percussive instruments, as the VU meter reacts differently to instruments with more transient versus those with more RMS energy. I don't want to assert that the VU meter method is the only way to gain stage, (as I've seen arguments for and against it, and many people hold differing perspectives), and other methods aren't viable alternatives. This is simply the method that has worked for me and my workflow, and I'm sharing it here based on my experiences. I don't claim that my approach is law in the mixing world; it's just my perspective. I do enjoy gain staging with VU meters, and I'm open to changing my approach to try new techniques or reverting to old ones. Cheers!
@@daxhamma thanks mate. I am not a pro and needed 2 years to get to my approach or longer. I use a lot of analogue emulations and my cpu performance increased in logic. I am still learning. Could remix my songs every month...🤧
Gain staging shouldn’t use plugins except perhaps a VU meter. You’re processing your material before you even a ruff balance. All of this is wrong.
Gain staging is getting levels right for you to start mixing! Not the person on the internet
I’m not sure what the point of this is though. Most analog plugins are designed to sound optimal at -18. The faders are for setting levels. If you’re using analog emulation plugins it’s probably best to gain stage with a VU meter set to -18. Then there’s also Andrew Scheps who doesn’t gain stage whatsoever. Now, I can see your method working pretty well if you’re doing your initial gain staging in pre fader mode, and then setting those levels post fader. I don’t know. Ultimately, I don’t think it all really matters that much in the digital domain. Whatever works best for you is what you should do.
Thanks for your input! I appreciate your perspective on gain staging. The point of the video was to demonstrate a method that I find effective, and works for me. I came across it in the mixing engineers handbook and felt that those levels were a good starting place for where I think instruments sound best for my mixes when setting levels. It helps me get the mix going a lot quicker and helps keep me organized so when I arrive at my mix bus, everything is more under control.
You're right that many analog emulation plugins are designed to operate optimally around -18 dBFS, and using a VU meter to set this level can be very helpful. My approach in the video is meant to simplify the process for me and if someone else finds it interesting, to try it and see if it works for them. I’m aware Andrew Scheps doesn’t gain stage but knowing a plethora of other engineers that do, it goes to show there's no one-size-fits-all in mixing workflows.
Ultimately, as you said, what works best for each individual is what they should use. I appreciate you taking the time to share your thoughts. Thanks again!
@@daxhammaall good! Honestly, I don’t know why I commented. I think I was just having mental diarrhea. Definitely not saying your method is wrong, obviously. I think I was just trying to wrap my head around it. I actually do something similar. I just do it at the end of the chain instead of the beginning. I set my initial levels with a VU, and then I keep my peak levels the same as I add plugins. Then I add a limiter or clipper at the end of the chain with the output set to whatever I had the peak level set to, and I pull the threshold down until I’m getting 1 to 3 db’s of reduction. It’s basically just an easy way to squeeze a little more loudness out of my tracks in a relatively transparent way. I’m pretty sure I got the idea from Scheps. Cheers!
Good stuff! I actually was considering doing a video gain staging with a VU. I just always think it’s challenging using it when it’s percussive instruments like hats or even snares because they can be so transient, that they’d clip the VU plugin before I get anywhere near 0. But I’m sure it helps with analog modeled plugins. At this point for me, I’m just having fun experimenting, taking ideas from all engineers, finding my thing and what works best for me. Cheers!
@@daxhamma yeah the drums, especially the kick, can never make it to zero dbvu because they’ll clip the dbvs meter. I actually just found this Short👇 while looking up Bob Owsinski’s method. It give’s credence to what you’re doing. He uses a VU meter while also setting the dbvs meter to -6, just as you stated.
th-cam.com/users/shortsnsUtKnPnL_c?si=XPRbzpTBaGBItLLy
Gain staging is a myth.
A myth that significantly helps my workflow! Works for some, not for others 🤷🏼♂️ At the end of the day, as long as the mix sounds great that’s what matters. Cheers!
@@daxhamma haha agreed!