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Then attenuate the signal using the output level control to avoid digital clipping in the audio interface/AD-converters. This allows you to create analog distortion/saturation effects, if you wish: Just turn up the gain control more than is actually required so the preamp’s input stage overdrives the preamp’s output stage. it mutes the signal when you turn it fully counter-clockwise).
#Switcher studio preamp plus#
On other preamp models you may find a gain control (stepped or continuous) plus an output level pot, which acts like a fader (i.e.
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Many high quality preamps have a stepped gain control plus a continuous trim potentiometer to achieve in-between values. The functions of which vary from model to model, so it’s a good idea to have a look at the manual. There may be a gain control and a level control. Some (external) preamps have more than one knob to set the level. Therefore: When in doubt, use less gain! You can always make the signal louder later on in your DAW, but you can never undo digital clipping. Set the gain control so the highest peaks are at least 10 dB below 0 dBFS.Ĭonsider the fact that musicians tend to play (or sing) louder on an actual take than on a test recording. The easiest way to dial in the proper amount of gain is to make a test recording. Since there is no headroom above 0 dBFS, it’s up to you to leave a safety margin for accidental peaks.
#Switcher studio preamp full#
It goes from minus infinity to 0 dBFS (FS stands for full scale).
#Switcher studio preamp software#
The digital level meter in your recording software has no headroom above 0 dB. So the scale goes from minus infinity to about +20 dB VU (give or take a few decibels). On analog meters, the nominal operating level is marked 0 dB VU, and there’s additional headroom of roughly 20 dB with gradually increasing distortion. Digital clipping sounds terrible and should always be avoided.īecause the distortion behavior is different, level meters on analog and digital equipment use different scales. Digital media sound the same at any level – as long you don’t overdrive the converters! There is no such thing as gradual distortion when digital converters clip, they go from pristine sound to heavy distortion. There’s nothing to be gained by recording with “hot” levels. There is neither tape compression nor tape hiss. Also, overdriving the tape became a fashion, because the saturated tape produced a unique type of compression that sounded great on drums and guitars in particular.ĭigital recording is different. Back in the days of analog tape, engineers recorded with as much level as possible in order to overcome the tape hiss.
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The most common mistake is to record too “hot”. The most reliable meter is the one in your recording software, because it is directly linked to the AD-converters of your audio interface. But most hardware meters are too slow to catch fast attacks. Your preamp may have a VU meter, too, which is helpful to get you in the right ballpark. So much for theory! In practice, it’s best to just rely on the level meter in your recording software (DAW). So there are three variables: the loudness of the sound source, the microphone distance, and the microphone sensitivity. Condenser microphones usually have a very healthy output level, whereas dynamic mics, including ribbons, typically require much more gain due to their low sensitivity. And of course the microphone sensitivity makes a difference as well. Close miking requires less gain than a more distant mic position. The recording distance makes a big difference, too. Obviously, you need less gain for screaming rock shouter than for a folk singer, and a snare drum will require less gain than a nylon string guitar. But how much gain is required? Well, it depends. In most home studio situations, the output level of your microphone is way below line level, so you’ll have to turn up the gain control. The most basic task of a microphone preamp is to convert the output of your microphone to line level. Microphones have an extraordinary dynamic range, so, depending on the recording situation, they can produce a very low or a fairly high output level.