Gain Staging Mistakes Part 1: Setting preamp gain
Gain staging is a hot topic, but it isn't anywhere near as difficult as people think it is. In this video we look at the first part of gain staging, which is setting the preamp gain. It's important to set the preamp gain low enough to allow good headroom, but not so low that there's too much noise.
Automated transcript
There are several aspects to gain stay tuned throughout the recording process here I'm going to concentrate on setting the preamp gain by the way it's easy gain staging is not the complicated issue that a lot of people would like to tell you that it is what I have here is a simple recording of a poem from an external sound source connected to the line input of my audio interface all I need to do is set the gain and watch the meter in my digital audio workstation which is Pro Tools but you can use any digital audio workstation software so I'll start with a setting that will work every time without fail I'm going to set the gain so that the signal Bob's up and down around the level of minus 18 DB FS that's 18 decibels below the maximum level that a WAV file can handle your digital audio workstation by the way can handle levels much higher than that internally also I'm going to keep an eye on where the peak level is in this case roundabout -10 DB FS it doesn't have to be exact you can go up to minus 6 if you like minus 6 would be about the highest you'd want to go and I'll explain why in a moment so here we go rubbing up and down roundabout minus 18 peaking roundabout minus 10 I wandered lonely as a cloud that floats on high or Dale and Hill when all at once I saw crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze ok that sounds good the next question is how high can you go without getting into trouble well you can record all the way up to 0 DB FS as long as the red light at the top of the column doesn't come on here's an example I wandered lonely as a cloud that floats on high or day land Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze this sounds good but the problem is you've got absolutely no Headroom so if the person speaking or singing or the musician playing goes any louder it's going to clip and you'll get Distortion by keeping the peak level down it gives you Headroom so you don't have to worry about that red light coming on you don't want that red light coming on because that means you have clipping in your wav file and that means Distortion and it doesn't sound nice okay what does distortion sound like this time I've set the gain too high so you'll hear the signal going into clipping and you'll see the peak red light coming on I wandered lonely as a cloud that floats on high or day land hill when all at once I saw crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze so now we know what's wrong with clipping and why it's good to leave Headroom so I'll just say once again bobbing up and down roundabout - 18 peaking roundabout - 10 that's a good level that always works there are situations where you would leave more Headroom but that's when you've got a really uncontrollable signal and you've got no idea how it's going to peak so in that case you might set your peak level roundabout - 20 just in case so that was easy we've covered half the ground already but what if you set your input gain too low what can go wrong then so I have three examples in the first I've set the peak to be around about minus 20 the second round about minus 30 and the third round about minus 40 so these examples will be rather quiet but we'll take a closer look in a moment I wandered lonely as a cloud that floats on high or day land Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze I wandered lonely as a cloud that floats on high or day land hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze I wandered lonely as a cloud that floats on high or day land Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees
what I'm going to do now is to compare all of these recordings by normalizing them I'm going to normalize them to quite a high level which I can do because it's already recorded and it's perfectly under control so here's my original recording which peaked -10 normalized to a good strong level I wandered lonely as a cloud that floats on high or Dale and Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze so we can compare that with the second recording that Pete closed on 0 dbfs which in theory should have a better signal-to-noise ratio but I don't think you'll hear very much difference I wandered lonely as a cloud that floats on high or Dale and Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze and the third recording which clipped we don't really need to hear that again but hey why not I wandered lonely as a cloud that floats on high or Dale and Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze now this is where it gets interesting because peaking at minus 20 DB FS a lot of people would say that's a bit on the low side especially people who have come up through analog recording where noise really was an issue you may be able to hear a slight increase in the noise level but in a real life recording it shouldn't be too much of a problem I wandered lonely as a cloud that floats on high or Dale and Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze and the recording that peaked -30 dbfs we're going to hear that that really is two lower level listen to the noise in this I wandered lonely as a cloud that floats on high or Dale and Hill when all at once I saw a crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze and finally just to make sure you can hear the noise here's the recording that peaked at minus 40 DB FS once this is brought up to a decent level you really will clearly hear the noise I wandered lonely as a cloud that floats on high or day land Hill when all at once I saw crowd a host of golden daffodils beside the lake beneath the trees fluttering and dancing in the breeze so there you have it gain staging for the initial stage of recording three things don't clip leave yourself some Headroom and don't record too low in level otherwise you will have problems with noise I'm David Miller course director of audio master class thank you for listening
Comments on this video
You can comment on this video at YouTube
You can comment on this video at YouTube





























@klauba: I wish you guys had made it clear in your video that the volume setting must be done before the computer. The proper gain staging needs to happen before the analog-to-digital-converter. Your video suggests that this can be done within the DAW, but there it is already too late. Therefore I would not recommend this video to anybody looking for advice for proper gain staging. A lot of what you are telling is true but some part is misleading and therefore the results may be unusable. Sorry.
@AudioMasterclass replies to @klauba: I doubt if you're all that sorry. You're getting some kind of pleasure from criticising stuff I never said.
@klauba replies to @klauba: @AudioMasterclass 0:27 "All I need to do is set the gain and watch the meter in my digital audio workstation". I feel you should have said that the gain needs to be set on the preamp of the interface (or elsewhere before the ADC). The way you say it can be interpreted as to use the pregain inside the DAW, especially since you are moving the DAW's fader afterwards. However, I feel you actually meant the gain before the ADC and it just came across in the wrong way for me. I agree with the rest of your video, though.
@AudioMasterclass replies to @klauba: @@klauba Seeing as I said a mere five words between "audio interface" and "set the gain" I think a reasonable person would understand that it's the audio interface where the gain needs to be set. Having said that, if I update this video it wouldn't hurt to say "set the gain on the interface" to be doubly sure.
@reginald_zar: 1:37 free my boy
@incargeek: Why is a minus sign missing from the values alongside the dB scale?
@AudioMasterclass replies to @incargeek: This is a good point that probably only Avid can answer. It wouldn't be the only meter scale to be incorrectly labeled though. DM
@philnewman7613: Normalized "good" -10 level 4:47
Normalized "bad" -40 level 6:57
I have to turn up everything pretty loud to be able to hear the noise over the signal. Is that bad hearing (of the high frequencies) or to be expected? I found the bad sample sounded slightly rougher/ harsh, but the noise is not audible at normal (or lower) listening levels.
@rist98: The one that was just about under the threshold of peaking. Imma say on most preamps, it will have distorted. Its mild, but its been measured on most interfaces.
@Alexandra-Rex: Recording while playing games (for recording or on stream) I have to set normal voice at around -30 or so, cause the peaks are very high, but still, with the processing afterwards (afterwards in teh chain with VSTHost, so it's processed live), it works just fine for both live and recording. A bit of noise is much better than peaking which just sound painful to listen to if it is the norm in a recording. And for gaming, the game sound mostly covers the noise anyway.
@pete3816 replies to @Alexandra-Rex: You’d be better off recording at a higher level (-18dbvu) and using a compressor/limiter to smooth out the crazy peaks and stop clipping.
@Alexandra-Rex replies to @Alexandra-Rex: @@pete3816 The peaking would happen before the compressor anyway, so it wouldn't change anything.
@pete3816 replies to @Alexandra-Rex: @@Alexandra-Rex clearly you don’t know what you’re talking about. I’m not talking about a VST compressor. You use an analogue compressor BEFORE the signal reaches the ADC. It will limit the signal peaks and stop the ADC ever peaking.
@Alexandra-Rex replies to @Alexandra-Rex: @@pete3816 Do y ou mean VST?
If the signal is clipped at the input stage, before any processing and before the ADC, it's still clipped regardless of what you do afterwards. You can't unclip a signal. Yes, it's less harsh than if it happens when it's digital, but it's still digital.
@pete3816 replies to @Alexandra-Rex: @@Alexandra-Rex bro. You clearly have no clue what you are even saying! Clipping a digital ADC happens WAY earlier than it does in the analogue world. Just because you have historically been clipping your signal in the digital realm does not mean that you are overloading the analogue circuitry of your pre-amp. It just means you’ve set too hot a signal to your ADC. Do like I said in the first post - place an analogue compressor limiter BEFORE the ADC and you’ll be good to go. Or, just keep playing your computer games and leave the audio engineering to those that understand it.
@pianolover5417: Best video ever about recording gain setting! Great job 👍👍
@teashea1: very well done
@peterm3964: A truly lifeless performance .
@SouthYarraMan: Hello David. What about the track input gain control itself? Would you adjust that also to -18dB or leave it set at 0dB and just use the fader only? When would you opt for using the input gain control as abviously its there for a purpose. Thank you so much. PS - Will enrol in your course!
@AudioMasterclass replies to @SouthYarraMan: If you can tell me which DAW you're using I can check this further. DM
@SouthYarraMan replies to @SouthYarraMan: I am using Adobe Audition. Another associated question is how loud should my project files be? It would make sense for them to be all at a nominal level, say -3dB or -6dB perhaps, and normalised to those values? To help the mixing process? I totally get the -18dB target, but is that set with fader levels @ -18dB or by the channel input gain control, then raising the fader to 0dB? There seems to be a lot of variables in this process. In my current project I set my track input gain controls in the DAW @ -18dB, but the project files were much too low and I had to norrmalise them to -3dB. The fader default being 0dB. Thank you David.
@AudioMasterclass replies to @SouthYarraMan: I'm not an Audition user so this is a generic reply. If there is an input gain control in software that controls the level being recorded, then it is a convenience feature that saves the user having to reach for the real gain control on the audio interface. Since it can only work on the bits that the interface sends into the DAW it cannot improve the signal-to-noise ratio or distortion performance. Also, it can't control clipping. So I'd say don't use it. Set the gain on your interface. Regarding your other question, it doesn't matter. When you're recording you can set the gain (on your interface) as high as you like as long as there is no clipping. Setting a lower gain however gives you more headroom so there is less chance of an accidental clip. If your meters are bobbing around -10 dBFS then you're in the right zone. Or go for -18 if you want to be extra cautious. Go for -6 if you want to throw caution to the winds but watch out for clips. DM
@SouthYarraMan replies to @SouthYarraMan: @@AudioMasterclass Thank you David. I won"t be using the DAW input gain any longer. That said, what dB level would you opt for re' the project files?
@teashea1: very excellent - organized and clear presentation - nice production values
@ekbey8401: I see mixcraft up there
@nickygacha1800: Do you stage on a track or the main track?
@arianna77777: This is a great video. Clear, informative, engaging. Thank you!
@x5dbose: Very good advice thnx
@Five2nd: This is literally the only video anyone wanting to learn about gain staging at the recording phase should watch. Absolutely simple and perfectly explained.
@preciseaudioblog: Hi! Great video. What do you mean with normalice?
@AudioMasterclass replies to @preciseaudioblog: Normalise means to set the level to a specific value. So you would normalize loudness to -14 LUFS for YouTube for example, which is their preferred level. There's more information at https://en.wikipedia.org/wiki/Audio_normalization DM
@preciseaudioblog replies to @preciseaudioblog: @@AudioMasterclass Thank you.
@johnRivs: How do you deal with a situation where a vocal or guitar performance gives you -24dBFS RMS and -6dBFS peaks?
@AudioMasterclass replies to @johnRivs: Celebrate! Your level is perfect with 6 dB headroom that kept you safe from clipping. With headroom, like many things, it's always better to have it and not need it than need it and not have it. Your RMS measurement compared to peak is governed by the dynamic range of the performance and it is only the peak measurement that you should consider when setting gain. DM
@drummer5015: Is there a part 2?
@AudioMasterclass replies to @drummer5015: I seem to have forgotten about that. Yes there will be at some point, but for now I can advise that this whole issue is vastly inflated. Part 1 basically says 'no red lights on recording', and 'keep some headroom'. Part 2 would be 'no red lights when you bounce'. Part 3 is 'it's good to know what levels your plug-ins clip'. Part 3 would apply to a plug-in that emulates analogue equipment. For instance it would seem appropriate that 0 dBFS is the level the analogue equipment that the plug-ins is modelled on clips. But DAWs can handle much higher levels internally, so it's good to be aware of this, and also that it's easy enough to test clipping using sine waves. Keep your monitor level down though. There's more detail to add but these are the main points and with modern DAWs it's difficult to go wrong otherwise. DM
@drummer5015 replies to @drummer5015: @@AudioMasterclass If you do post Part 2 I'll be interested to watch it. Gain Staging is an often discussed topic and I appreciated your video because it was one simple concept and not a long drawn-out discussion. Makes it easy to understand and apply to my recordings.
@majewskimusic: Thanks, (finally clearly explained) thank you, ;-)
@LAKXx: Cleared some things up for me! thank you
@nileshnagare3114: Best video explained all the aspects..very helpful
@AudioMasterclass replies to @nileshnagare3114: You're welcome. DM
@KhavelX: So, -10 or -12 dbfs is a good peak signal for gainstaging, right? For basically any source? Same for percussive and non-percussive? And what do you think about doing the gain staging to 0 dbvu without going over 0? What is better?
@AudioMasterclass replies to @KhavelX: It depends on how predictable your source is. -10 dBFS is good for voice. It doesn't have to be exact but the meter should hover around -10 on peaks. The aim is to be completely confident you will never get an over which will ruin your take. You can concentrate on helping your singer perform well. But if you were for instance recording from a drum machine, which is totally predictable, then there is no reason not to go all the way to 0 dBFS, just a little below clipping. The higher level you record, the better the signal-to-noise ratio, but with 24-bit audio it's hard to tell the difference between -10 and 0. DM
@preciseaudioblog replies to @KhavelX: @@AudioMasterclass Hi, some people say that even with a predictable signal, this must be -12dbfl tops, because of the plugins you put afterwards. Is this so?
@AudioMasterclass replies to @KhavelX: @@preciseaudioblog The saying that 'two wrongs don't make a right' comes to mind. 12 dB of headroom is OK in a 24-bit recording which makes it a 22-bit recording, but your performer might go crazy and the level goes up to -1 dBFS or maybe even -0.1 dBFS. Don't panic, everything is OK. Any plug-in that can't handle 0 dBFS at least has not been competently designed. But consider that a plug-in that emulates hardware may also emulate that hardware's clipping characteristics. Or in the case of tube equipment a progressive increase in distortion towards clipping. The key is to listen. If you like what you hear then great. If you don't and you suspect the issue is level then use a gain plugin before the plugin that doesn't sound the way you want. Other than for the purpose of headroom there is never any reason to record at a low level. DM
@SW33T_Dr34M: 🤯
@inopartners: Thank you for the useful informations in the video. Can you recommend how to properly set gain for mixing from DAW to analogue console line inputs (in my case Focusrite Saffire Pro into old Studiomaster 16-4-2 Series 5, using Logic and Pro Tools). Regards.
@AudioMasterclass replies to @inopartners: This is generic for most audio interfaces and consoles. If your console has gain controls on the channel line inputs: Set the gains of the console channels you intend to use to minimum, EQ out. Connect the line outputs of the interface to channel line inputs of the console. Solo one channel and play your track. You should see some level on the main console meters. Increase that channel's gain until you get a good strong reading on the meter, not hitting the end stop or top LED on the highest peak. Repeat for the other tracks and channels. If your console doesn't have gain controls for the line inputs, and your interface probably doesn't have output level controls other than the main monitor outputs, then you'll probably be lucky and the levels are OK. If they are too high, you'll need to lower them in the DAW. Regarding the StudioMaster - Looking at photos it seems to have a clip indicator on each channel. If this is pre-fade which it should be, then it will be useful and should never come on. (There's another way to set up the console using sine wave tones, which you could use for any transfer. For this place a sine wave tone at 0 dBFS on one track, solo that channel of your console, then set the channel gain so that the meter comes within a hair's breadth of the end stop, or the top LED just comes on. Set all the channels similarly and this will work for any transfer.)
@inopartners replies to @inopartners: @@AudioMasterclass Thank you so much! All the best!
@khuri93: What if the master is clipping when my channels are at healthy levels, & that is causing me to have to lower all the channels extremely low, how do I fix this?
@AudioMasterclass replies to @khuri93: Pull down your master fader. Modern DAWs have a lot of headroom and are very flexible, as you can see and hear at https://www.adventures-in-audio.com/exploring-the-massive-headroom-in-your-daw/ If you have to lower the master by more than 10 dB, consider setting your channels lower next time you mix. If you have to pull down the master by more than 20 dB then there's a problem somewhere - a) Make sure your original recordings don't clip, b) Start off your mix with the first few tracks around -10 dB or so because the level is going to rise as you add more tracks, c) If a plug-in increases the level, like an EQ boost, consider lowering the fader to compensate, d) A plug-in, like an EQ boost, may add level in the master track. If your master fader is pre-insert then a level trim plug-in, placed last or just before your mastering limiter, can be used to compensate. The simple solution normally is to make sure your original recordings don't clip and to start off mixing with your tracks around -10 dB.
@kaij5017: This was straight to the point. Thank you
@AudioMasterclass replies to @kaij5017: You're welcome.
@kadencemusik: This was awesome. Very informative after butchering the gain so many times in my life.
@AudioMasterclass replies to @kadencemusik: Thank you for your comment. We have more videos on gain staging coming up soon(ish).
@owlmega-101: Thank you for this video. I'm wondering what the normalized level is. Did you apply any limiting /dynamics?
@AudioMasterclass replies to @owlmega-101: The narration was processed separately and is set to -21 LUFS using the Waves WLM Plus. The poem does not have any limiting or compression.
@owlmega-101 replies to @owlmega-101: Thank you so much!
@gauravsharma-eh7sz: what would be the difference between reamping a weak signal vs raising it with clip gain
@AudioMasterclass replies to @gauravsharma-eh7sz: The reason the signal is weak is because insufficient gain had been used when recording. If you can't raise it enough with the fader, then you can use clip gain, a trim plug-in, or normalization. These will all raise the signal level digitally and there will be no noticeable effect on sound quality. If you send the signal out of the DAW and amplify it electronically then there may be a little more noise and distortion, but unless there is a fault then it should sound OK. There will be latency to correct for. It's just more trouble though and raising the level digitally is a lot easier.
@gauravsharma-eh7sz replies to @gauravsharma-eh7sz: @@AudioMasterclass got it thank you please make more such videos
@gauravsharma-eh7sz replies to @gauravsharma-eh7sz: @@AudioMasterclass in this case how do you define latency ?
@AudioMasterclass replies to @gauravsharma-eh7sz: @@gauravsharma-eh7sz It's the time it takes to get the signal out of the DAW, through the digital-to-analog converter, back through the analog-to-digital converter and back into the DAW. It will be several milliseconds, perhaps tens of milliseconds, which is enough time to throw things out of sync. You can correct it, but it's one more thing to do.
@drkastenbrot: if there only was such a thing as a floating point mic and interface haha
@AudioMasterclass replies to @drkastenbrot: Is this the kind of thing you have in mind? https://www.zoom-na.com/products/field-video-recording/field-recording/zoom-f6-multitrack-field-recorder
@markparkins: Not a bad introduction :-) I did a similar video on gain staging just last week...