This is optimum for the plugin, NOT for your tracks. Most analog plugin emulations sound best when fed with -18 DBFS which is zero in analog, but good practice for digital as well. The -18 comes into play when you need to feed analog type plugins. I would not worry about individual tracks, but rather your STEM tracks in terms of level.then that level into the master bus. In the analog world, we used to hit red because it sounded better.LOL BUT the master bus was always reasonable.
Your individual tracks can certainly peak red from time to time.there is plenty of headroom and it's normal. I don't do this often, especially since much of my music has very soft passages that I do not want louder.Ĭlick to expand.Hey Mattia.As you know, orchestral music is far from being slammed like pop music.so you have nothing to worry about in terms of trying to get "hot" levels.From a mixing is utterly important to set your MASTER bus level to no more than 75%.so this works with any DAW, keep it barely hitting yellow. make final balancing adjustments via Logic's mixer volume sliders.ħ) if needed (only after balancing with no clipping) add Logic's limiter plugin (set to -.5) to the final mix bus. andģ) Using Logics mixer and the individual volume slider for that same trackġ) leave all of Logic's mixer volume faders at "0"Ģ) record instrument track (by regions) via controller keyboard.ģ) adjust track volume within the instrument (as in Kontakt or Play or SINE volume control)Ĥ) either during or after recording, use cc1 and cc11 for dynamic contrast within each region.ĥ) sometimes when needing larger volume changes, I'll use Logic's gain pluginĦ) after panning, EQ, reverb, other plugins, etc. andĢ) using Logic's "gain" plugin on that same track. could someone please explain the difference between:ġ) using the virtual instrument's own volume control in a given track. I use Logic and various orchestral and synth virtual instruments.
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