Gain staging?

[Microstudio]

Question...Do you use Input Gain/Attenuater to level your tracks before you add any eq/comp or effects or do you use the Faders.

I use the Input Gain/Attenuater.

[Dave Labrecque]

Question...Do you use Input Gain/Attenuater to level your tracks before you add any eq/comp or effects or do you use the Faders.

I use the Input Gain/Attenuater.

I don't end up using them very much. I don't often need to turn things down. I sometimes need to turn things up. And they don't do that. I'm not even sure why they exist; they seem to be a vestige of the analogue world. In the digital world you can't have a signal coming in that's too hot.

I guess you can use the attenuator control to calibrate the fader to stay around 0 for things you're mixing low. But I don't think that's what they were meant for. I'd be curious to know how they're meant to be used.

[UpTilDawn]

I don't end up using them very much. I don't often need to turn things down. I sometimes need to turn things up. And they don't do that. I'm not even sure why they exist; they seem to be a vestige of the analogue world. In the digital world you can't have a signal coming in that's too hot.

I guess you can use the attenuator control to calibrate the fader to stay around 0 for things you're mixing low. But I don't think that's what they were meant for. I'd be curious to know how they're meant to be used.

I haven't needed to use the channel strip attenuator, but as Dave said, sometimes I need to turn things up.....

I usually end up building mix to hot track after boosting the channel fader in order to get the waveform drawing large enough to be visible at times (as well as to boost the average level of that channel).

I do use the record meter attenuator to boost an input that I am unable to control and is being fed at too low a level during recording, sometimes.

In both instances, we're usually talking about 24 or more channels of live inputs in concert settings for which I am unable to take control of the input levels for whatever reason.... Sometimes I correct the gain at the record meter, sometimes after the fact, when it becomes an annoyance to try to visually see what's on the channel, and/or I want a level that is closer to similar instrument channels in the mix.

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[Microstudio]

I don't end up using them very much. I don't often need to turn things down. I sometimes need to turn things up. And they don't do that. I'm not even sure why they exist; they seem to be a vestige of the analogue world. In the digital world you can't have a signal coming in that's too hot.

I guess you can use the attenuator control to calibrate the fader to stay around 0 for things you're mixing low. But I don't think that's what they were meant for. I'd be curious to know how they're meant to be used.

Per the manual they are ment to lower hot signals.

[Sean McCoy]

In all my years using SS I don't believe I've ever used the input attenuator.

[Carl G.]

I don't end up using them very much. I don't often need to turn things down. I sometimes need to turn things up. And they don't do that. I'm not even sure why they exist; they seem to be a vestige of the analogue world. In the digital world you can't have a signal coming in that's too hot.

I guess you can use the attenuator control to calibrate the fader to stay around 0 for things you're mixing low. But I don't think that's what they were meant for. I'd be curious to know how they're meant to be used.

I use the input attenuator frequently in projects where some source material is from CD (way too hot) and other from studio recordings, so that the two will match on the fader.

[Grekim]

Whenever I record a live show, I keep my peaks well below full scale. So, allowing the attenuation button to add some gain would be quite useful. Then the signal could be in a more normal range before it hits the channel compressors.

[Microstudio]

I have always wondered why most DAW's don't have Input Gain control like analog mixers do, I find it odd using the Output fader to to adjust my input gain when leveling tracks before I mix.

[Cary B. Cornett]

I don't remember whether I have used the channel input attenuator this way, but I see two situations where it might be wise to pull it down a little.

First, if you are going to do any serious boosting with EQ, you probably want to get yourself a little headroom first so you don't clip the channel.

Second, if you are compressing and using gain makeup, starting transients that hit before the compressor can "grab" can clip the channel.

Any process that can boost peak levels should be allowed some headroom.

[Jeff Scott]

I've done the same Micro...automated the Input gain to balance out the varying levels within a track. Mostly on Vocal tracks as I don't use a Comp on the way in. That would level things out a bit. Lately I've been using a lot more Automation than a Compressor on certain tracks....reserving the comp for a final tightening.