Gain Staging Explained

[@5piece]

Learn how to set your levels effectively here: kzbin.info/www/bejne/m5y2ZXWfe9l_aKc

[@Librarising1618]

Noise floor isn’t nearly as large of a concern with digital recording in a DAW as it was with tape. The hiss was a byproduct of the analog medium and engineers would regularly push levels into soft clipping (“tape saturation”). Digital recording has kind of the opposite phenomenon: there isn’t really a “noise floor” (hiss), but pushing into digital distortion sounds pretty objectively bad (think: dial-up tone). Avoiding clipping is infinitely more important in digital recording than worrying about a noise floor.

[@lannyfce4786]

This is true but you have to remember the vast majority of recordings are now done in homes with cheaper gear and buzzy noisy outlets. For things like drums I can get away with -20 for oh/rooms but for vocals or guitar DI’s I always have to make sure I’m around -6 or there’s a lot of noise once you add compression or distortion

[@5piece]

I’ve mixed plenty of tracks recorded by others in the digital domain that were gain staged way too quietly and upon me increasing loudness through several different means during mixing/mastering, the noise floor came up with it and suddenly there’s a persistent hiss (or other problems) caused by the way it was recorded. Does it happen on every track? No. Like you said, I’m sure it’s much more rare than back in the days of tape. But does it still exist outside of tape recording? Yes, absolutely. I’ve mixed hundreds of songs to date, and experienced this problem at least 5-10 times so far Regardless, the point of this video is to understand the two extremes and gain some insight on what to watch out for. Just because it’s unlikely, doesn’t mean you’ll never run into it. And better to be armed with some understanding of the problem than not 😉

@@5piece aren't those noise problems in the digital domain dependant solely on the recording though? I mean clip gain vs volume fader in a daw is the same thing, so either way you'd be boosting the noise present in the recorded track. I guess it may matter for some emulation plugins that introduce hiss on purpose, or perhaps it matters for the plugin's input level sweetspot Anyways, dealing with noise sucks, it makes me sad

[@oscillatorstorm]

​@@5pieceDIgital daws have no noise floor at all.

[@midionkeys]

@@oscillatorstorm audio interfaces, condenser mics, some guitar mics, even some cables add noise floor.

[@HeckaS]

Sometimes, clipping gives a desired sonic effect.

[@midsfb]

Yup. Depends on genre.

[@9YouthfulAdvisor]

Very valuable information. I remember having hiss on my masters and had to figure out that I was indeed gain staging too quietly.

[@5piece]

Yup. Been there my friend! Definitely an annoying problem. Sometimes even gain staging can’t fix it after the damage is done and then you gotta reach for a noise reduction plugin like Izotope RX. Thankfully it doesn’t happen too often, but certainly pops up every now and then 😅

[@ClementBaudoin]

What if i like that hissing sound and it's actually an artistic choice to leave him there ?

[@bvri9956]

Realistically, you can either turn on the analog sound from a plug-in (such as the CLA-2A), or you can just keep recording. It’s your music at the end of the day.

[@markuskopter]

I'd rather say that gain staging stops right at the volume fader, which only sets the relative level compared to other elements in the mix. Your full video, because it's way more detailed, explains the process very well, but in this shortened form it may confuse those learning how to mix.

[@5piece]

You aren’t wrong, it’s tough to squeeze the level of detail and insight into 60 seconds as you can imagine (although I certainly try my best!) The volume fader is basically the last step of the gain staging process (unless we’re then feeding the track into another aux/group/bus so totally with you there. Hopefully anyone who’s new to this can watch the full length to gain the insight needed 🙏🏼

[@Adsterr]

Gain is different from track volume, dont use track volume but gain volume instead, use a plugin to check how loud your instruments are too

[@itsrlyshad]

😌

[@gabrielthesingingpilot]

Can you put your external mic preamp gain to the max setting and then record into a 32-bit float recorder, then just bring the volume down below 0dbfs? Wouldn't that produce the lowest noise floor and no clipping?

[@5piece]

Technically you’re right, 32-bit float is a lot more flexible from that POV but most folks are still working in 24-bit environments, or end up converting the final product to 24-bit somewhere down the line. From what I understand, converting down to 24-bit will lose data and therefore likely create clipping at points which willl need to be manually edited. So while you can avoid those issues at first by recording in that environment, chances are you will still need to do something later for things to translate. Basically, you can decide to either gain stage “properly” upfront for this scenario in a 24-bit environment, or you can ignore it and just record in 32-bit and deal with it later. I imagine if you’re staying in a 32-bit environment entirely then this stuff doesn’t apply. Still learning the quirks of this but that’s how I’ve come to understand things so far (could change tomorrow). More helpful info in this article I found: www.wired.com/story/32-bit-float-audio-explained/

[@gabrielthesingingpilot]

@5piece thanks for the reply! Really enjoy watching your channel, and thanks for helping the world with mixing tips!! My understanding atleast in Reaper is a 32-bit FL recording actually shows as a 24-bit file so that any editing below 0Dbfs will not clip when exported as such. It's interesting that the use of compression to tame excessive peaks may be a thing of the past. From some articles I've read some mixing engineers don't use compression as all on certain vocalists as it just sucks the life out of the voice. I'm sure though the only real situation considering 24-bit has 144db of head room (don't quote me on that) for using 32-bit Float would be to accurately capture the jet plane landing above Bono on the set of Beautiful Day. I'm very much still learning all about the beautiful world of audio engineering/mixing, and really having a lot of fun with it, although I really hope one day someone else can do the mixing and I can focus on singing cause I spend way to freaking long on the former. All the best, Gabriel

[@5piece]

@@gabrielthesingingpilot appreciate that insight Gabriel. Trust me, I’m equally learning here and sharing lessons along the way - I don’t think that’ll ever stop. We’re also entering a new age with technology so who knows what implications that’ll have. I hope engineering continues to make you a better artist until you’re able to offload that responsibility. Keep it up ! 🤘🏻

[@gabrielthesingingpilot]

@5piece thanks brother!! Wishing you all the success in the world

[@shan5445]

A little clipping is good to get that analog sound

[@SaltSpirits]

Clipping isn’t musical? Bro has never heard Dariacore volumes 1-3 before

[@lannyfce4786]

Digital clipping USUALLY isn’t musical is what people should say. There’s no absolutes

[@5piece]

There are definitely exceptions, Mike Dean’s work particularly comes to mind. BUT more often than not, clipping isnt great especially to those who don’t fully understand what they’re doing or how gainstaging works (which is really who this intended for). Like Ianny said, there aren’t any absolutes. But there’s usually someone in the comments who wants to debate as if there are 😅

[@doggydolittle1698]

I think ive been gain stageing my tracks too loud they all slap 🔥

[@Grimmvulture]

Same here for my mixes haha

[@MrFelonyLoc]

learn how to gainstage using RMS , once you learn that you will learn how to deliver the perception of loudness vs it actually being loud- peak loudness

[@doggydolittle1698]

@MrFelonyLoc i was joking but i actually appreciate that tip im gonna start focusing on eqing better as well for precived loudness without pushing things harder/louder in the mix

[@MrFelonyLoc]

@@doggydolittle1698 Compression and saturation will do it along with gain staging using RMS.

[@worldparfum8564]

Dnt touch valium but trim

[@hodshonf]

No

[@marcdanielnelson317]

Whaaaatt?

[@metaldefender49]

Thank god I don't have these problems.

[@michaelragan6898]

Add a gain plugin at the beginning of your chain on each track to gain stage, keeps faders at zero to make automation easier 😊

[@5piece]

100% ! I love doing this as well for that exact reason. Appreciate you sharing and reminding me in particular 🙏🏼

[@LovepreetSingh-lp7hw]

Please can you help me ?

[@michaelragan6898]

@@LovepreetSingh-lp7hw You'll set the right volume with the fader then use the number of db down or up and copy that to the gain plugin. That way you can reset your fader to zero

[@LovepreetSingh-lp7hw]

@@michaelragan6898 means first i should first use fader and use the trim plugin to set input at the starting of plugin chain and then at last the output with the help of same plugin ... And then set the fader to 0 ✅

[@dumdumreviews7436]

Or you recording in 32bit Floting

[@5piece]

Already discussed this in the other longer comment thread with the same note 🚀 Short answer: Yes, BUT not fool proof when you consider you will likely convert the final file(s), or session back down to 24-bit which will inevitably happen at some point, which will create clipping and other issues if you aren’t mindful of gainstaging. If you can stay in 32 bit entirely, then absolutely.