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About Signal Levels

Rule #1 in adjusting input gain is to never clip

the signal in Pro Tools. It is OK to occasionally

trigger the red peak indicator on a track’s meter,

but clipping causes digital distortion that can

render your track unusable.

Within the preamp circuit, however, there is a

balance for optimal gain structure and signal in-

tegrity that varies greatly, depending on the dy-

namic range of a given signal. This balance is

highly subjective, and can vary depending on

program material, microphones used, or an en-

gineer’s preference.

The general guidelines—other than to avoid

clipping within Pro Tools—are to keep levels

low enough to avoid clipping (and associated

distortion artifacts), yet high enough to stay

clear of the noise floor (which is very low with

these mic preamps!).

There are no absolute rules or strict formulae for

attaining optimal levels. Depending on the sig-

nal character and sonic context, there are occa-

sions where this balance ratio can shift signifi-

cantly in either direction.

There are times when you want to avoid one ex-

treme more than the other, and certain soni-

cally-pleasing textural results can be achieved

through the use of atypical gain structure.

For example, some engineers find certain distor-

tion characteristics to be texturally pleasing,

and might even route an already-recorded signal

back through a microphone preamp a second

time to achieve a certain effect. While this prac-

tice is not necessarily recommended, it is never-

theless cited as an example of the subjectivity of

preamp levels, and the use of preamps for pur-

poses other than merely raising a microphone

signal to recordable level.

You will have to experiment to find the optimal

gain structure for various contexts, and to be

able to estimate settings based on source and

microphone placement and types.

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