Use This On EVERY Mix! 

I think people should care less about -6 db but focus on proper gain staging because a well balanced mix can be pushed more than a unbalanced -6db mix

I route all of my project's mixer channels to one channel called 'Pre-Master'. That Pre-Master Channel goes to the Master. That gives me double the mastering FX slots, but more importantly, it gives me one additional fader to control the Master gain all in one, so I can keep my leveling of everything else in place. It's a really easy way to reduce the total gain of my track if it's getting too loud. I can also put a soft clipper on the pre-master as an option to ensure it doesn't go over 0dB before it hits the final Master. Another benefit of using a dedicated Pre-Master channel is that I can set up a standalone 'Reference' mixing channel that I can drop reference tracks into my project to compare my mix against. The Reference track bypasses the Pre-Master and is routed straight to the master. This ensures that if I have started adding FX to my pre-master chain, it does not apply to the Reference track as that's already mixed/mastered. So all I need to do is gain match the Reference to my Pre-Master, and I can start EQing or working to tonally balance my track in live time, and do a direct comparison with plugins like SPAN on my Pre-Master and Reference as they play simultaneously (Reference sidechained to master so no output volume so I get to listen to just my track). So to sum up and simplify, for me, I allow only 2 channels to route to the Master directly. A reference track channel, and my pre-master channel which is a sum of everything else.

Nice one. Since I typically start my tracks with a kick drum, I always just turn the kick down -10 db and mix everything around it…A trick I learned from D. Ramirez like 12 years ago. Works for me!

First, add a limiter to your master channel and add 5.5 to 6 dB of gain. Since you're looking to get your mix somewhere between -3 and -6 dB, this added gain will trigger your limiter around 2 dB of attenuation. Next, Leave faders at 0dB (zero unity) and adjust input gain for all tracks first, before mixing! Moving your faders is considered output volume and is at the end of your Effects chain. If i have a signal coming into my mixer at -3 dB and adjust the output volume, it may sound quieter, but it doesnt change the input volume, or how loud the signal is coming in. When I load a plugin, I'll notice that the sound s still coming into it at -3 dB and if I, for instance, use and eq to make a boost, I'm essentially clipping now. You can use a gain plugin as the first slot on your Effects chain if you'd like, as opposed to the pregain slider/knob for each one. This still achieves the same thing, and helps to manage the volume on its way to your EQ, compressor, etc., and not stress them out. By leaving faders at zero, you can also accuratley check the volumes going into each individual channel, and bus tracks as well. You should not be clipping in any of your channels! Your pre-mix should contain a balanced volume of all your sounds and sit between -3 to -6 dB on the master. Now, time to start processing! Make your adjustments, but always make sure to use the make-up gain in whatever effect you use to adjust the volume of a signal back to the level it was at before you added the effect! When it's all done, your mix should sound cleaner than your pre-mix, and still between -3 and -6 dB. Then, if you want to move your faders, go for it. You'll only have to make slight movements to get a better blend of your signals. As for what volume levels certain sounds should be around, that usually changes depending on genre. Ive learned this recently, and as someone who mixes purely "in the box", this was game changing. Now I have to go back and fix it all. Go forth and create! 👑👑👑

This will definitely change how your mix will sound like when you remove the limiter, so you are basically mixing into a limiter and everything interacts as such. Unless you are super used to this method, with a known limiter, with tried and true settings, I simply think that lowering the gain of each individual track in the beginning of a mix is much safer method.

Good idea, Streaky! What I do: rather than adding a limiter with +6 dB, I simply turn up the volume of the stereo mix track by 6 dB. When I get the mix sounding strong and balanced, the mixing is finished and the mastering begins. I put the level of the stereo track back to unity and engage whatever limiting/compressing I am going to use for the mastering.

Weird advice but I guess makes sense if your listening volume never changes. I simply set my kick, the loudest sound in the mix to -18 dbs rms and everything else mixed to the kick. I never clip and have more than enough headroom for mastering (usually -10 to -12 db). Limiter on the master with default settings from the start just to keep a hot signal from crushing my ears.

I modify the gains on tracks to make the clips -6dB from max and keep the faders around the 0dB mark for a range of +12 to -infinity automation. I also use a gain plugin on those tracks that need more than +12dB of automation. Quite useful using a separate gain plugin on vocal tracks for doing the bulk of automation, and using the fader for longer-term lifts, such as in choruses. I use -6dB on the main busses to feed the output stages, and automate around this figure to bring dynamics to the track. With all the previous gain-staging done, this works perfectly for me. The output limiter usually needs about ~6-9dB of gain to get to a -10 LUFS output, and a little more for -8 LUFS. But usually I'll leave the headroom and master it in a separate project after a week of not listening to the track.

I use a limiter on the mix bus towards the end of a mix just to get an idea of how it will react to mastering but my preference is to keep my gain staging in check from the start by changing the gain of the regions or the output of whatever soft synth/sampler and keep it in check each time a plugin is added. This helps to get the best out of analogue emulation plugins and also means my mix is in a pretty good place with all faders at unity, which (in logic at least) means the scaling of the faders is much more precise than when you have the fader near the bottom. I usually just use the faders for fine tuning and volume automation. Most importantly I know my monitoring setup well. When working on a mix my control room level is always at exactly half way and I know how loud it should sound and how much energy the track should have at that volume without clipping and if it doesn't I still have work to do. If you know your monitor setup well then why fool yourself?

I always mix with a VU meter set -18LUFS on master channel as a reference for individual tracks and/or whole mix

I heard someone recommend leveling the drum bus to -23Lufs and mixing from there. So far with this technique I've ended up in the -17Lufs range at the 2buss. So, it's not quite 6dB, but not terribly far off.

I dont need a limiter...just use -12dB on every channel when you start. If you still have overdrive/ reds , that will teach you recognizing low and top end headroom . Low end headroom is like a tsunami, top end is like 'fuck it's still clipping' -> way more headroom (peaks) , and easier to to miss. I also sometimes use the 4dB rule in leveling. Drop volume until the track starts to wash (away) in the mix, by using 4dB steps. That will teach you dB ear training as well, while speeding up the process. Or use a white noise track as a reference leveler, drop volume until the noise starts to wash away on said channel. One might argue; anybody would prefer a different type of noise instead of white noise.Noise profiles have an EQ profile. Another tip; close your eyes when you're not sure if the track pops out enough without overdoing gain. Use your feeling to decide if it's enough/ too much

Yes ... I put a limiter ON from the start, not only for this use but also so you can while mixing hear aprox. how your mix is going to sound in the end when mastering is applied (as you once said in your previous videos), so you're not so suprised later when you push the mastering limiter later even stronger ... :)) When your mix is done you just turn off your "working limiter" (you have your additional headroom, -6, -7db) and you're ready for the "real mastering session" or better said "the real final nightmare" haha ... Great video again!

When I started using a digital mixer the manual said, that you are best off with the channel gain if you aim for -18 dB. In a daw you can use a utility plugin or just adjust the output of your softsynth or whatever so that you are around -18 dB. You'll never overload anything. Similar principle as described in the video but done by proper channel gain instead of tricking yourself with the limiter. Maybe the mix might sound great with the limiter, but without it is really bad. The proper way is to make the mix as good as it gets without anything on the master and of course not overloading it. You'll get a reasonable good mix to start mastering it.

Hi Streaky - Thanks as always for kindly sharing your knowledge - it is hugely appreciated.😊

I've been using the Steven Slate FG-X2 at my master bus with the 6dB of gain and works wonderful for allowing a good headroom for mastering.

I set every channel to around -18 db using a gain plugin at the end of my chain. Then I balance from there by raising and lowering those gain plugins. That way all my faders are at zero even after I've achieved a good balance. And my master bus is nowhere close to clipping. I'm also very careful to get the right input levels into each of my plugins. You can either do this using a gain plugin, or the input and output dials on the plugins themselves.

I don't understand why people go on and on about gain staging like it is some kind of rocket science - just start with your kick at around -12db and your mix will never clip. Job done.

Great video Streaky and thanks for the tip! I like to keep a 'brick wall' limiter on the Master Buss (and saved to a template) set so it doesn't clip from the start. You can save a preset on the limiter of -6DB output, if you wish. The reason I don't do this is I also route every track to a single Mix Buss, and reduce the gain on the Mix Buss to -6DB. So every track is summing to the Mix Buss, reduced by -6DB, then routed to the Master Buss, which has the brick wall limiter. Not sure if it's right, but it works in most cases, thanks again!

To be honest, I haven't expected anything special in this video because there are hundreds of them on the web and all of then are quite similar in general, but man, this is actually a brilliant piece of advice to follow!

I like to export my mixes for master at roughly around -6db. Plenty of headroom for mastering but not too low so limiters etc don’t have to work so hard. I’ve seen people shoot for -9db or -10db. It’s all personal preference and style but as long as there’s enough headroom and things aren’t already clipping most mastering engineers don’t care what the mix arrives to them as.

That 6db trick to me is just an arbitrary number. People just need to gain stage. But I guess this is for beginners

Another advantage is you are getting a sense of what your track is going to sound like after it's limited... And you're getting the advantage of getting to mix towards that from the beginning.

Usually I keep a meter on my master channel and always try to work under -7/-8db, I never had any issues with it since I started using this approach. If I want to have the perception on how it will sound louder or closer to 0db I use an L3 just to check it out. It works for me =)

I set input gain levels so signals peak at a good chunk below clipping, perhaps -6 to -12dB. If I then need to HEAR the mix louder, I turn up the speakers!

I do a similar thing but with no latency, as I track instruments and vocals throughout the production/mix process: a utility gain plugin into "cliponly" by airwindows. Gain staging with HoRNet's "TheNormalizer" is a great time saver too.

This one lesson had the most positive impact on my recording and mixing. Thanks Streaky. Bake on.

Wow. I've been mixing for 25 years. It never dawned on me to do this. Great tip. Thanks Streaky

Just some thoughts, okay: 1. As long as you are still in the digital domain the red channel clip lights don't matter. If you really don't care for proper gain staging and your master goes into the red ... pull the master fader down. That's why they made that thing. Otherwise we wouldn't need a master fader, would we? 64bit internal processing makes that possible. There is no such thing like internal channel clipping. 2. Instead of a limiter, insert a bus compressor in your master bus. If you hit THAT too hard you hear it pumping and choking the mix. That's an audible way to know if you should take down the level of your tracks or even better: WHICH track is too loud because a too loud kick drum triggers the compressor differently than a rythm guitar. By using a bus compressor you can also dial in the vibe you want to hear by setting the track levels accordingly. 3. You got a volume knob for your monitor output on your interface. Use that bloody thing! Gainstage a signal to -18dbFS RMS and crank that volume knob to the point where it is almost too loud. Then leave it there and start mixing. You will stay below that ouch-threshold automatically. But if you can't get a channel loud enough although you hit the red light chances are you need to compress it.

This is a good trick… I also diligently work towards -6Db by composing and writing at around -12Db. By the time I get my mix “right” I’m at -6!

Isn't using a gain plugin with 6db better than using a limiter with 6db because the limiter may be doing some gain reduction especially on the kicks so it doesn't guarantee that you're going to have enough headroom once you get rid of it at the end of the production session...

I set my kick at -18dB (roughly analogue 0dB), then build everything around it. After rough mix, I put a limiter to bring the volume up to roughly -12lufts, then finish mix, remove limiter, then master. Never had an issue with clipping/distortion.

Depends on the type of music you're making. A tip from a very successful proudcer is "it doesn't matter if its clipping or not the real question is DOES IT SOUND GOOD?" If yes then let it be. I think the whole idea of being technically correct takes the feel out of music. Not knocking the technicalities I just don't agree with it all the time.

Yeah, love the vids and the great advice brutha! For my purposes, I created and saved a couple of quick -20 and -12db settings. Just like most desks had on the line inputs. Saves me time and I don't have to leave faders so low, the resolution is effected. Glad to know we use the same method. Could just be a Logic thing too.

Agree with previous comments, this is not a substute for proper gain staging. As Midstuff commented, doing it this way I always have headroom in my mixes. A limiter is the very last thing I want to put on mix, and I usually have to push that a bit to max out the track with only a minimal amout of limiting going on.

Try the clip to zero method. I consistantly get mixes around - 6 lufs , loud clear and balanced with nearly all my faders still at unity gain. Baphometrix teaches this method. You'll need to approach like a college lecture amd take notes, but it will change you mixing life for ever!

Yes I do this, I actually prefer this to using a limiter on the master, as you’re working without the cieling

-12 to -9 dB in the meter is a good spot for the loudest elements in your mix… if you find it too quiet just turn up your monitoring level…..

Great trick there - will try that - What I have been doing on my stereo buss (first insert) I have a slate mix rack my first module is the trimmer then the mix buss module then an eq all on that mix rack - adjust the trimmer as needed when channels get to hot but I then have to adjust my waves SSL buss compressor when moving the trimmer - but it works great keeping at least 2.5 to 3 db of head room on the stereo buss - I like to drive the channel faders a bit to get nice saturation manage the stereo buss as needed -

I don't do this one, just personal preference. I put a safety limiter on the master bus without any boost, just for protections of ears and speakers, and I use the Blue cat Protector for this which can be zero latency or has multiple look ahead settings. I just set it to the 0.1ms lookahead mode which is enough to make sure nothing gets through ( believe me I have tested it to the extreme) and adds totally imperceptible latency, it's like 4 samples which is nothing and doesn't get in the way of composition with virtual instruments or external monitoring. I also use a Cytomic Glue in zero latency mode before it on the master bus permanently and compose/mix into it from the start (I enable oversampling when all composition is done and I am at final mix down, as then the latency doesn't matter and the DAW compensates). Then with audio samples I use clip gain to make sure they are not clipping or near clipping, as almost every sample I have ever used is recorded ridiculously hot, then for general gain staging I use Klanghelm VUMT @ -18dbfs on every single channel. Just my way of doing it, but I know many others who gain stage using that meter scale - gives a lot of headroom.

Thank you! Am going to try it out! More vids like this pls!

As an aside. In Logic, I route all tracks to Buss 1 then route Buss 1 to Stereo Out. I run all channels at -14, or K14

Brilliant advice. Definitely going to be using this. Love the vids. Getting a lot of your shorts on my feed. Great stuff!!!

I usually do this with a gain plugin to also check the mix in mono

I put on the major elements, in specific order bass kick groove , claps hats , synthn vocal fx, iuse ableton, at a certain moment i mute from all and unm7te 1 by 1, and gain stage each element. Using utility, to get around -6 on each channel. On the master i put lim8ter which i put later to 0db.

I just normalise all the tracks at -10dBFS or use clip gain so I’m hitting a VU meter at 0 with 8dB to 10dB of headroom. Additionally you can set up VCAs for all mix groups to adjust level and as a final check route all tracks to a trim VCA before processing to make big changes up or down

what I tend to is turn down the output level on any compression or EQ plugins I use on a track, I find that really helps with avoiding clipping

However you do it, just make sure your gain staging is good throughout the entire chain. If I’m working with tracks that are recorded very hot, I might reach for the trim plugin in ProTools and have that first. But I only do it on an as needed basis.

thanks... I was taught (way too late) in dance music which is centered around the kick, to keep the kick at -6db and then the track goes around it which has worked for me, and then I carried that into other types of music. But good to know another way.

Flipping brilliant. This one and the Pultec Punch both. Thank you.

I start my entire mix at -7, get a balanced mix and then push into subs. If the limiter works for you than go for it. I'd rather not mix into a device that colors the sound as I am mixing only to take it off afterwards.

I gain stage all my tracks to -12dB. Easy to do in Logic. I never have issues with my stereo bus clipping.

I do this with the dimmer function, just set your headphones louder. If it is still too loud, then I set a limiter. But a limiter may confuse you later, i don’t know. I also have a send just for gain.

That's really interesting. I end up with this setup, but I haven't started with it, and it's a great idea. Thanks for sharing.

Thanks Streaky you’ve done it again! Would love to see you do a video on harmonic distortion & how to apply it. Using Saturn 2 and other in the box methods. Cheers mate.

I gain stage as I go as part of housekeeping. A tight ship not a shite tip ;) by the time I'm into mixing everything is going around minus 12 and master never goes past minus 6 all faders and gain inputs at zero and ready to push or pull

Nice thought! I myself gain stage so that my master output is loud. It’s the same psychological hack/ idea without involving anything on my main out/ stereo out. As my monitoring level is loud, I naturally turn everything down.

While I don't understand how other people end up with overloaded channels (I rarely have that problem and it's usually only because I've added or removed an unusual plug-in and it can be remedied in a few seconds). However, I like the idea of the -6 dB as a sensible precaution to endure that the master output will always prove headroom. I'll give that a go tbh! Thanks!

I reduce all my channel gains by a 1/4. Then add a waves L3+ ultramaximiser in the master channel to up the volume so its at a level I like to produce and mix at. The added plus to this is any plug in you add to the channel are not getting a super hard signal and therefore make better use of the plugins character. Then when your done, you then adjust the L3 to what ever you wish to set over all volume ready for the mastering..

I usually have a -10 DB gain on all tracks (or subs). This trick can work too. Along with some others mentioned here.

Nice idea. I generally just keep an eye on the master and do add a limiter of forms towards the end of the mix for any rogue spikes.

I always set every new track to -10db before starting, always helps to keep the project from clipping

Sorry, what happened to basic gain staging? I put a level meter on every channel in the first instance, set it to -12db and Peak/RMS then adjust my plug in/audio/external source to that level. It takes no time at all. I then set pre-fader metering on the mix channels and then after adding processing etc to a channel I’ll readjust the level to around 12db going in to the fader and then the fader can be adjusted for the mix. Proper gain staging and never had an issue with clipping 🤷🏻‍♂️😎

That’s literally one of the reasons why the K-System was created for, to have a monitoring standard for audio mixing which achieves just what you have explained (it both fools your ears into thinking the mix is louder and creates headroom for mastering). Unfortunately, not many people use it as is apparent from the comments in this video. Admittedly, the K-System was replaced by the LUFS system, which is superior in determining loudness, but the principles behind correctly setting up your monitoring environment have been neglected (which is not the fault of the new system, but more of people who don’t know how to set up their monitoring environment). Anyway, a better advice would be to correctly adjust your monitoring environment as per the K-System (with an SPL meter to calibrate your monitors) and leave 6dBFS of headroom for the mastering process (which can be done in various ways, including lowering a Sub Bus or even the Input gain in Ozone if that’s what’s being used).

Also just simply keep your speaker volume up where you want to hear a workable level.

What I do instead is I put a trim plug-in on my master and add 6 dB of gain. I also put autogained trim plug-ins (set once) on each of my source channels at the beginning so I get around the same (impact) start levels for all my tracks including returns and effects. Buss channels won't have these. I also start source faders at -6 dB position. All of this goes into my template. Using this I can focus on the music instead of setting up levels and what not.

I've done this ever since!! I know Tchad Blake and Shawn Everett does this as well where they've cranked the gain on their limiters without even limiting the mix so basically making up gain and then internally they're not clipping

A limiter costs significant processing time and delay I would not recommend that before all recordings are done. You can always select all channels simultaneously and reduce their levels. Consider pre (also to be selected) and post fader (not to be selected) buses when doing that. When there is already, be sure to keep all of the absolute points selected. Prefer to automate with relative values only, not absolute. A reduction might be neccessary twice that way during production. Thus, I can produce without delay and still keep relative levels intact. My levels match also other sources like music streaming apps better, then.

wow, this was a new thing to me. I will absolutely try it! Thanks! :)

Genius your videos are amazing lots of useful knowledge 👌

Usually the struggle is with negative phase on synths can be checked by correlometer by voxengo and fixed with for example bx_control2. Also If looking on the meter there could be sometimes a big difference between peak and rms on literally transients are poking trough which could be fixed by a peak limiter.

I've watched three videos and I'm already making my mixes sound twice as good now lol.

Wow I didn't know I was doing the right thing but it was working now I have a witness.

Excellent info. I'm doing something similar, except I go about it differently. I have a free clipper called KClip Zero doing very light clipping first. Then I'm doing a serial limiter with the free D16 Frontier with soft clip active and getting audio to about -6 peak, going into my Melda UltraMaximizer brick wall. The Melda is set to +3 input and a -1.5 ceiling. This nets me -1.5 dBFS peak, according to the Melda MLoudnessAnalyzer. For this Livestream project, it's more than acceptable to limit dynamics somewhat, and it's intentional on my part.

I very often do this during the writing phase. Very nice tip 👍

Everything helps.. I do something similar. Even after decent gainstage, I actually turn my speakers up quite a bit and then mix down. That kinda gives the same elusion which in turn forces me to mix quieter as far as how hard mix hits the output

I just gain stage all my tracks to -12 or -18Db depending on the kick on the VU meter. Now I keep the kick at that dB and pull all the other faders to 0 then start mixing. Never had any clipping issues with this.

i go even further, i max the gain on my monitors/headphone on the dac and work from there, then ill raise stuff up if i feel like it but normally i balance all with compression and pull the lvls in the end to relative close lvls to send to mastering. I feel like im doing something out of the ordinary but i like the sound and the work flow around it

Your videos have been a great help. Thank you ever so much for sharing your sorcery!

You can't clip channels. It's floating point. You can only clip once going to (or coming from) an integer format, like when recording, rendering, or going out to your interface.

I used to worry about clipping in individual channels but then when I was on a settings diving period, I realized that reaper internal processing is at 64 bit floating point. You can't clip it is just an indication , I use the stock eq as the first plugin in my master buss and if I need I reduce the gain there, so I don't mess with the balance of the tracks. You don't clip the individual channels but you need to pay attention not to oversaturate the next in line plugins and to not clip at rendering. I use it as a gain plugin in every group also, so I can change the gain staging of my whole fx chain and keep whatever setting fits the track

Please do a video on best practices to get a good mix in an untreated room 🙏🏽

Don't belive me but I figured this out like this .One day I thought why don't i use a limiter at the start so I will get plenty of headroom and also I won't need to mix in low vol. And it worked like magic ✨✨

i like when videos are not longer than needed ! NIce education thanks !

Thanks for the short and simple video!

This is kinda silly tbh. I'm pretty sure you can grab all the faders at once and bring them down equally in most DAW's except protools, which has VCAs that accomplish the same thing. You can control actual volume with the volume knob on your interface and give yourself as much headroom as you want while mixing, and now that 32 bit floating is the norm there's absolutely no problem with this. Not only that, but doing this also requires no processing power and has no chance of influencing what you're actually hearing.

Very educative... When mixing I avoid any sort of clipping on the mix buss. I generally hit -6 to -3db range. Never ever clip. Standard practice

Great tip and one I commonly use. Enjoying the vid’s Streaky. 😊

Or just start with the kick and bass at -9 to -10 and work with the rest of the mix relating to them

I've never bothered if one of my channels is going in the red ( 64bit digital headroom and what not ) as long as I'm not going red on the master buss, but of recent trying to see if this thing of a sweet spot for plugins actually does anything. As many say and I think I've seen streak say this too, that plugins have a sweet spot and give the best results if they are not going over 0db and if the input is not too quiet. I'm just an old dog trying to learn new tricks. I think after 10-12 years of doing the same thing ( satisfied with my results though )maybe time to shake things up and maybe get a new "sound"

after getting levels but before tracking I just set all my faders to -10 or --20. i dont tend to do much mixing during tracking and dont really add pluggins except wetten the vocals for the vocalist etc. Im more focused on getting a good performance from the band. If i didnt lower my faders, i jsut do it before i start mixing. I record metal and punk bands, they are always at 100% volume with little dynamics lol. I dont like putting plugins on my stereo out unless im mastering too. you could just lower you stero out by 6db at the end, which i also wouldnt advice. i dont touch my stereo out fader, i just use a meter to look at my levels and make adjustments as needed. I use BX meter.

cranking the volume on the monitors and mixing up from negative infinity db works too

I will def try this on future mixes. In the past I’ve used a gain plugin on the mix bus to tame the overall output. Seemed to work ok but what are your thoughts on this? Thanks for all the great knowledge!

Similar principle as just mixing into the mix buss compressor. If not, I would suggest good gain staging.

I just gain structure channels properly before I start doing anything with the mix, percussive channels at -18dbfs, anything else at -24 to -21 dbfs, you really don't need to do anything else.

Produce into my mixing template pretty much. But sometimes i add ProL and add good 6-8 db.

I made a template where all of my channels are even lower ..-12 -18 and by the time i am finished with all plugins i am around -6 -5 db then i have room for mastering.. works for me.

I basically load my mastering chain at the beginning of the project. I’ll mix everything except the limiter, and then the load that file into another track that only has whichever limiter I’m using for the song.

I do it all the time, it works.

Thanks Streaky🤝