David Mellor's RecordProducer.com - From Home Recording Studio to PRO Recording Studio
 
Next article: What is the nastiest equipment you have ever had?...

Is there such a thing as maximum loudness? What if I want to go higher than that?

As Roger Waters of Pink Floyd once said, "It doesn't have to be loud. We just like it loud." Well, some people would like it even louder. Is this possible?

Follow RecordProducer.com on Twitter...

If you have a powerful enough amplifier and big enough speakers, there's no limit to how loud you can go. Well, I suppose when the air starts to ionize, that might be a problem. But other than that you can go as loud as you like, or as health and safety regulations permit.

But what about inside your digital audio workstation? How high can the level go?

Well the common answer to that question is 0 dBFS. 'dB' obviously stands for decibels; 'FS' stands for 'full scale'.

0 dBFS means zero decibels below full scale; in other words FULL SCALE - it's as high as the signal level can go.

But that's not entirely true...

Suppose you have recorded a signal and you optimized the gain of your preamp so perfectly that it peaks at exactly 0 dBFS. Surely that's as loud as it can go?

OK, let's try a test. Set the channel fader to 0 dB (which means that it doesn't change the signal level) and the master fader also to 0 dB.

Now try pushing the fader up on the channel. Push it up 10 dB. You will notice now that the meters by the master fader are now flashing bright red. That ought to tell you that something is wrong.

Indeed it is a warning. If you now bounce what you have done to disk, the output file will sound terribly distorted on playback. That is because you have tried to go beyond 0 dBFS. And you have failed because you can't go beyond 0 dBFS in the output file. The result is horrible-sounding clipping where the peaks of the waveform have been chopped off.

But go back to your master fader and lower it by 10 dB, or maybe a tiny smidge more just to be on the safe side. The red lights have gone out, haven't they?

As you listen to your signal, it sounds clean. Bounce it to disk and play back the output file. It still sounds clean, doesn't it.

So in the channel you have pushed the signal level up beyond 0 dBFS, which was supposed to be full scale. But since you lowered it again with the master fader you got away with it.

So what's happening?

What is happening is that 0 dBFS refers to full scale in the output file, not in the DAW. In fact, your DAW is probably capable of handling signals up to +30 dBFS, as long as you don't try to output them that high but bring them down again with the master fader.

That extra 30 dB is there as a safety margin, or 'headroom' as we like to call it. The point of having headroom is that you don't intend to use it, but it will get you out of trouble if you need it to.

30 dB is in fact loads of headroom. So there isn't any need for accidental clipping in the output file. Just make sure that the red lights in the meter by the master fader remain entirely off for the full duration of your track.

Over to you... let's hear your red light experiences (!)

Publication date Tuesday January 26, 2010

Bookmark and Share
Next article: What is the nastiest equipment you have ever had?...

 

Enter your e-mail address to receive notifications of new comments on this topic...
(You can unsubscribe quickly and easily.)

Follow RecordProducer.com on Twitter...

Discussion on this article's topic...

 

Antoine Zayoun, Beirut, Lebanon
I just don't get what the point is of raising up your channel fader if you're still going to compensate that difference by lowering your master fader. Personally I have tried this approach and to be honest the outcome turned out to be the same. unless you're using this approach in live recording, it really doesn't make much of a difference if you're mixing in studio because the maximum level in your output is always going to be 0 dBFS. i might be missing out on something so if anyone could please clarify more on this matter it would be great. thanks.

Saturday February 20, 2010

Karel Post, Grou , The Netherlands
So if a DAW has over 30dB of headroom, and the soundcard dynamic range is let's say 110dB you get an effective dynamic range of 80dB for general DAW systems?

That is NOT high end quality, it's like a regular cassette-deck with Dolby C noise reduction.

Is THAT why most DAW productions sound so dull?

Or am i being too simplistic...

Wednesday February 17, 2010

 


UPDATE - Posting of comments has been disabled. RecordProducer.com has been targeted by a botnet posting spam comments. The facility to post comments will return when this problem has been resolved.

We welcome your addition to the discussion on the topic of this article. If you feel that the article is inaccurate in any way, please let us know by e-mail at . We read all messages sent to this address but we cannot promise a reply.

Your name:

Your e-mail address (will not be published):

Your town:

Your country:

Share your comments on this topic...

RecordProducer.com reserves the right to select readers' comments for publication.


So your band has a website. That is so 2009! Why not get the new decade started with an iPhone app that showcases your talent to the (iPhone) world? Read more...
'If you don't ask, you don't get!' That's a good old proverb. But have you asked anyone recently? This guy has... Read more...
If your monitors are too small to handle deep bass, then there's stuff going on your recordings that you don't know about. Would a subwoofer help? Read more...
Still struggling to get a good sound in your home recording studio? Perhaps a visit to a pro studio would fix all your problems. Read more...
Do you still use DAT? CD recorders? Outboard effects units? Come on and admit it - you're a dinosaur! Read more...
Is latency putting your singer off their stride? RME's Fireface can offer a unique solution... Read more...
Having trouble with your recordings? It could be that your preamp simply doesn't have enough frequencies! Read more...
Aldo Caballero has recently opened a small commercial recording facility in Mexico, right on the border with the USA. Here is Aldo telling us about his studio in his own words... Read more...
You spent a week recording your best and finest track. It took a year to get a label to accept it. But they want a remix and your multitrack won't play. What do you do? Read more...
What will happen if you use an uncleared sample on your recording? Can you sample legally if your use is only private? Is it safe to use samples you find on the Internet? Read more...
Do you suffer from dull, lifeless sound? Do you wish you could have just that little extra sparkle? With the right preparation, you can! Read more...
A RecordProducer.com visitor asks whether a good analog-to-digital converter is necessary. Or will any old converter do? Read more...
Popular music is here today, gone tomorrow. Each new recording gets more and more stale as time goes by, where classical music can always remain fresh and new. Read more...
You're trying to get a decent recording, but your singer is doing really strange things with the microphone. What do you do? Read more...
Are you guilty of recording cliches? Do you do things because you've seen other people doing it like that? Or do you decide for yourself what's best? Read more...
This is a tricky concept to explain and understand. But once you do understand it you'll feel an awful lot better. In fact, you'll probably feel so good you will consider yourself one of the 'elite' of sound engineering and look down upon lesser mortals who do not understand it... Read more...
It's an old cliche of rock music that the bass guitarist should be close to the drummer. But with modern technology does this still matter? And will you indeed go deaf? Read more...
You're watching a live music show on TV, but something doesn't seem right. Should live music be live? Or should we just expect it to be fake? Read more...
An RP reader has worked out an interesting way of connecting his compressor. Will it work? Or is something going to blow? Read more...
It's a topic of endless debate, but really there is no way a stream of digits can beat the real vinyl experience. Read more...
You Could Be Making PRO Recordings In Your Home Recording Studio...
The Audio Masterclass Music Production and Sound Engineering Course
Music Production and Sound Engineering Online Course. Turn your home recordings into PRO recordings in just 12 weeks.
Sign up now for the FREE COURSE TOUR!

We will not disclose your personal information. You can unsubscribe quickly and easily at any time.

Using Headset Microphones On Stage
Using Headset Microphones On Stage
You don't have to use a stand-mounted microphone on stage. You can enjoy the freedom of a headset mic and get really great contact with the audience. Learn the advantages, and the potential problems, here. Using Headset Microphones On Stage
The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
Three amazing microphones and two amazing preamplifiers tested at Abbey Road Studio 2. This Multimedia Set™ includes the original Studio Master recordings, 48 kHz and AAC versions for easier downloading, videos in both high and medium resolution, and session notes. You will see and hear clearly the differences between the three microphones and two preamplifiers. Also, each preamplifer is demonstrated in two settings, giving further examples of how they can sound. The Nicola Dines Microphone and Preamplifier Test at Abbey Road Studio 2
The Charlotte Roel Microphone Test at Abbey Road Studio 3
The Charlotte Roel Microphone Test at Abbey Road Studio 3
Hear nine classic and modern microphones on female vocal, recorded in studio master quality at Abbey Road Studio 3. The tests include classic tube Neumann U47 and AKG C12 mics, plus five other amazing mics you NEED to know (some costing as little as $300!). PLUS video recordings of all of the tests. The Charlotte Roel Microphone Test at Abbey Road Studio 3
Acoustic Guitar Recording Techniques
Acoustic Guitar Recording Techniques
Thirteen microphone positions in mono and stereo clearly demonstrated on two acoustic guitars in 'Studio Master Quality' audio, together with downloadable videos of the entire session, recorded in Abbey Road Studio 3. See and hear for yourself classic acoustic guitar microphone techniques and positions - select the combination that YOU like best for your next acoustic guitar recording project. Acoustic Guitar Recording Techniques
The Insider's Guide to Working in a Pro Recording Studio
The Insider's Guide to Working in a Pro Recording Studio
Have you ever wondered what it's like to work in a PRO recording studio? Now you can find out what it's like to start at the bottom, and work your way up to Recording Engineer and Producer. Don't you wish you could do that? The Insider's Guide to Working in a Pro Recording Studio
Talking to Rupert Neve - the Father of Mixing Console Design
Talking to Rupert Neve - the Father of Mixing Console Design
Rupert Neve, the best-known mixing console designer in the world, shares his knowledge and insights in this vintage interview from his heyday in 1987. Talking to Rupert Neve - the Father of Mixing Console Design
The Clyde Meredith Microphone Test at Abbey Road Studio 2
The Clyde Meredith Microphone Test at Abbey Road Studio 2
Hear ten PRO microphones on male vocal, recorded in studio master quality at Abbey Road Studio 2. The tests include the classic tube Neumann U47, the equally classic STC (Coles) 4038, plus eight other mics you NEED to know. PLUS video recordings of all of the tests in this Multimedia Set™. The Clyde Meredith Microphone Test at Abbey Road Studio 2
Pro Engineer School Vol. 1
Pro Engineer School Vol. 1
The renowned Audio Masterclass Sound Engineering and Music Recording course in two e-books. Learn audio to professional standards. Maximize your chances in your studio job interview. Vol. 1 Pro Engineer School Vol. 1
Electric Guitar Recording Techniques
Electric Guitar Recording Techniques
Hear and see electric guitar recording techniques in this AUDIO and VIDEO Multimedia Set™. Recorded in Abbey Road Studio 3, this Multimedia Set™ features eleven techniques that you can experience in video, or load into your digital audio workstation and mix yourself. Electric Guitar Recording Techniques
Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
The Neumann U87 is the world's most popular microphone - certainly the most desired. Find out exactly what it's like to get your hands on one and use it to its full potential in Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone Hands On: The Neumann U87 Large-Diaphragm Condenser Microphone
An Introduction to Live Sound Monitoring
An Introduction to Live Sound Monitoring
If you play in a band, or work in live sound, you need to understand stage monitoring. There's nothing that makes more difference to getting a good performance than getting the monitors right. It isn't easy, but this e-Learning Module shows you how! For your house of worship too. An Introduction to Live Sound Monitoring
The Guy Barzily Microphone Test at Abbey Road Studio 2
The Guy Barzily Microphone Test at Abbey Road Studio 2
Hear ten PRO microphones on male vocal, recorded in studio master quality at Abbey Road Studio 2. The tests include the ultra-classic RCA 44BX 'Elvis' ribbon mic, the equally classic AKG C12 vintage tube, plus eight other mics you NEED to know. PLUS video recordings of all of the tests in this Multimedia Set™. Mic list: AEA A440, AEA R84, AKG C12, Beyerdynamic M160, Blue Baby Bottle, Bruel & Kjaer (DPA) 4011, Neumann U47, RCA 44BX, STC (Coles) 4038, Violet Design Flamingo The Guy Barzily Microphone Test at Abbey Road Studio 2
Piano Recording Techniques
Piano Recording Techniques
Seven grand piano recording techniques and eighteen microphone positions clearly demonstrated in 'Studio Master Quality' audio, together with downloadable videos of the entire session, recorded in Abbey Road Studio 3. See and hear for yourself classic piano microphone techniques and positions - select the combination that YOU like best for your next piano recording project. Piano Recording Techniques
The Hidden Compressor
The Hidden Compressor
"The Hidden Compressor" is an advanced e-learning text, so you need to know all the basics of compression already. "The Hidden Compressor" covers advanced techniques that have not been seen explained by anyone else in print or on the web. If you want to get more out of your compressor, you'll find you didn't know that the compressor you have already could do so much. "The Hidden Compressor" includes information on recommended compressors at all price levels, from home studio to pro. The Hidden Compressor
The Steve Lyon Record Producer Interview Video
The Steve Lyon Record Producer Interview Video
Steve Lyon's productions have sold in their millions. He has more than twenty years' experience in recording and production. He learned from legendary producer Glyn Johns. Now, in this 60-minute video interview, Steve Lyon reveals his production secrets. The Steve Lyon Record Producer Interview Video