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headroom in your bank account + in your mixes

= freedom to make creative decisions.

QUICK LINKS: YOUR MIX SUCKS MIX TEMPLE MASTER FEEDBACK

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Damn if only your bank account had

enough headroom!
But youre hitting red all too often, start calculating and things
become uncomfortable.

Sounds familiar?
Exactly how people feel about their Gain Structure in mixing Gain
Staging being the strategy you chose to use your bank account of
dBs, if you even have a strategy

Like your bank account, the Gain Structure of your mix needs enough
headroom to be able to deal with crazy or unexpected events.

The Drums are buried in the mix, and the artist wants them waaaay
upfront?

OK, you start turning them up, and by the time they are where you need
them, the drum-levels are up 6dB hitting digital red on the mix bus!

Digital Red means youve maxed out the

bank account of your available dBs
no more credit!

This is a pre-release version of the chapter on Gain Staging, from the

brand-new book YOUR MIX SUCKS (now available at introduction
price here with a 30% discount).
The book is a Complete Mix Methodology for the entire process from
DAW preparation to delivery.

Ill start with some underlying history and theory. And then tell you
exactly what to do about the problem

Just before Digital Audio took over as a standard, early DAW

manufacturers in the 1990s made a historic mistake in laying out the wrong
scales for digital level meters: no warning all the way up until 0dB, so you
dont know youre in trouble until its too late.

Whereas 0dB in analogue used to be a reference point for solid level,

Digital Audio used 0dB as the point of no return.

found this rare video of Protools V1.0 (in German)

The Alesis ADAT recorder, the rst digital multitrack for the mass-market, did
(a little) better: it had two yellow lights at -4 and -2dB.

The Sony and Studer DASH-machines did a lot better, but they were
six-gure digital multitrack-recorders that were the industry-standard until
DAWs took over.

Fast forward DAWs took over between 1991 and 1998 Digidesign
ProTools being the rst and most popular one, others like Cubase and Logic
followed by extending their MIDI-based sequencers with audio-features.
What all of them should have done from the beginning, is declaring levels higher
than -18/-15dB as yellow zone, and -8/-5dB as red zone and also make -18 dB
= 0dB, as this is exactly what happens once the audio leaves the D/A-converter.

By setting the 0dB-reference to Digital RED,

DAW designers made a historic mistake that a/ects
the quality of audio to this day.

Prior to Digital Audio, people were not leaving a lot of headroom in analogue as it
would bring up noise, and driving a signal hard to tape even had pleasant
side-eects for certain types of music (tape compression, soft-clipping transients,
added harmonics).

Early Digital Audio was at 16bit Resolution (96dB of dynamics in theory), and
people still felt it wasnt clever to leave a lot of headroom. They were partly right,
as the combined dynamics of 16bit and early converter designs were barely
reaching 90dB, best case.

From the early 2000s on though, the processing of ALL DAWs was operating at a
minimum of 24bit resolution, which means you have 144dB of dynamic at hand
at any time.

144dB of dynamic at hand, and people complain about

not having enough headroom!

That of course exceeds what analogue circuits are capable of reproducing.

Even the best OP-Amps used in AD/DA-convertors can only go as far as 125dB
(e.g. the LME49720), so we can plan with as much headroom as we like, it wont
aect the quality of the audio.

To cut a long story short heres what you need to start doing:

GAIN STAGING LIKE A BOSS

STAGE 1 TRACKING
When youre tracking vocals or instruments, keep average levels
around -15dB to -18dB, peaks shouldnt go higher than -8dB to -5dB.

STAGE 2 YOUR INDIVIDUAL TRACKS

most individual tracks people send me for mixing are too loud once I
start summing them, Im at least 6dB into the digital red. I do not
compensate for that with gain reduction in my master or summing bus!

With the channel fader set to unity gain (= 0dB), each single element needs
to have a solid headroom of about 12 18 dB. I recommend putting a
simple gainer plug-in in the second slot of your plug-in chain (always leave
the rst slot free). Producers usually send me their individual tracks pretty
hot, with peaks close to 0dB, and I have made it a habit to put a gainer plugin
across every individual track that reduces levels by 15dB (set to -15dB). That
ensures lots of headroom in the master-bus when mixing/summing the
individual signals.

STAGE 3 YOUR MIX BUS

The Mix Bus is where your Bus Compressor (if youre using one) is inserted,
and it will have other processors, from EQs to subtle Tape Compression, etc.
(which is not the topic of this article).

You need headroom coming into the mix bus (which you have assured in
STAGE 2), but also coming out of the mix bus.

Take a situation where your mix sounds great and is very balanced overall,
but as you are comparing the mix to references, it lacks bass. Like, the kind
of bass you would get by cranking up the bass on a HiFi Amp.
That is not really a big deal I would probably insert a Linear Phase EQ, and
create a very broad boost of the lower frequencies
This looks dramatic (+ 8dB at 30 Hz), but since this is a linear phase EQ, and the
curve is very broad, its not: 100 Hz is only boosted 2 dB relative to 400Hz.

This not so dramatic EQ curve adds about 8 dB of level to the mix bus though!

Added low end needs lots of headroom.

Each processor inserted on the mix-bus gives you of course handles to get
some headroom back. Im talking about the Input and Output-controls of a
plug-in.
Back o 1 dB on each of those to get some headroom back if youre getting near
the trouble-zone.

When all processing is done, and you end up with 3dB of headroom at the end
of your mix bus, youve done a solid job.

More is nice, but what were talking about here is the headroom you leave for the
mastering engineer to do his thing. In light of 20 years of loudness wars, these
guys are happy if you leave them ANY headroom.

They will love you for 0.3 dB of a ceiling and no brick wall limiter used!

If you make it a habit to shoot for the -3 to -5 dB range going OUT of the mix bus,
you will have more space for unexpected events though.

MORE THAN ONE MIX BUS

I make a clear distinction between MIX BUS and MASTER BUS.

One of the reasons for that is there are engineers who work with SEVERAL
master busses.
Without going into detail here, this is something pioneered by mix engineer
Michael Brauer on SSL consoles that have several stereo mix busses, like the SSL
6000E/G, 8000G and 9000J/K.
 Just as a quick example for adding a second mix bus:
your track has punch, solid glue and a great low end the bus compressor and EQ
work great, BUT UNFORTUNATELY NOT for the lead vocals, they are too aected and
squashed by the bus compressor.

What you do is route them around your main mix bus and create a second mix bus.
The second mix bus (for the vocals) will of course add some level, has its own signal
chain, and the sum of both mix busses feeds the master bus.

For that to work, you need a healthy gain structure!

STAGE 4 YOUR MASTER BUS

OK, the master bus is where you nally fuck up your audio to compete in the loudness
war, right?

Oh well, Im just joking of course or not?

I personally always have a brickwall-limiter on my master bus, and thats about it.

Im limiting maybe half a dB as a standard, not more. Usually that gives me the
average loudness I set out to achieve.

If I want MORE RMS (average) level, I either reduce some peaks on individual tracks, or
carefully adjust the MIX BUS, but NEVER do that by slamming the nal Brickwall-
Limiter.

For the nal mix pass, I just take the limiter o, and print a WAV (to hand on to the
mastering engineer).

The easiest way to nd out (in plain numbers) what type of nal loudness you want to achieve, is iTunes.

1. launch iTunes on your computer

2. go to the preferences/Playback, make sure Sound Check is ON

3. create a playlist with references of songs in a genre similar to the song your mixing
(well talk more about picking references in another post)

4. Get Info for the song (command + i on the keyboard), chose the File-Tab and check the volume-value

5. compare these values to the value that your mix shows when you play it in iTunes.

If your references sit around 7,4 dB, and your own mix is at 11,3 dB, youre too loud. If your own mix sits a
0,4 dB, you need to nd about 5dB in volume (maybe the Limiter is not making up for the headroom gain)

Heres what you need to know about iTunes Soundcheck and Mastering Levels:
 in iTunes (the app), the Sound Check-option that automatically corrects all songs in your library to similar
subjective playback-levels DOES aect the pre-listening in the iTunes Store as well so no Loudness-war
happening on iTunes any more really.

ALL Apple-devices have the Sound Check-option

levels are not as crazy as they were, and dier from genre to genre

Some interesting examples of levels

The original album-master of Billy Jean gets almost no level-change by iTunes.

The remastered version duh, 8,5 dB louder!!

That screams Loudness-War.

The transients are really squashed on this one, and the snare reverb brought up in a very unpleasant way. I c
listen to this!
Not too bad really for an EDM-record.
Big mainstream hit-records dont need to be squashed!

Another example for a very dynamic mainstream Top 40-hit.

What Im proposing here is of course not new mastering engineer Bob Katz has done incredible work in
educating audio engineers, and his k-system dB-scales are implemented in a number of plug-ins you shoul
using to improve your gain-staging.

The K-system goes beyond levelling, it even includes standardized listening levels.

As you can see, there is plenty of stu to talk about in future posts.
In short, iTunes has a very intelligent algorithm that measures RMS, and adjusts ALL tracks in a way that rega
of what song youre listening to, they will all appear roughly in the same perceived loudness.
I think, they did a good job, but Im planning to release an album on iTunes with just test-material at di
to nd out EXACTLY what happens.

The most important thing to know about this is that when your mix is extremely squashed with high RMS and
headroom, iTunes will turned it down and it will end up lower than other tracks.

If this article was useful for you, subscribe to my exclusive e-mail list, or leave a comment. Im very happy to h
from you.

BTW, my new book YOUR MIX SUCKS is now available.

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