dLive RMS mtering or ballistics

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This topic contains 2 replies, has 3 voices, and was last updated by Profile photo of Wolfgang Wolfgang 4 years, 4 months ago.

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    Profile photo of sova

    I would like to have RMS metering on dLive. Maybe I should post in feature requests, but here I would like your suggestions on how to setup metering ballistics to get metering close to RMS.
    My goal is to set up gain structure not for maximum Peak to noise ratio, but for the faders to sit at same level for similar loudness. I’ve heard that it is good to set RMS level to sit around -18dB or at the edge between green and yellow LEDs.
    How do you set up your metering ballistics?
    How do you set up your gains?
    What dBs is border between green and yellow metering LEDs?

    PS: maybe I found the method: insert 16T compressor on main which has RMS metering, set channel fader to zero and use this for setting gain.

    Profile photo of Runepune

    I set up my gains so that no input signal will ever reach 0dBFS. On an analog desk I’d shoot for faders at unity. Not so on a digital desk. If I want faders to sit in a particular spot, I’d use trim.

    I wouldn’t use RMS metering on input channels myself, but if you really want that, try setting dLive’s metering ballistics to 300ms attack/release.

    Profile photo of Wolfgang

    the worst thing that could happen on a digital console would be a digital overdrive of the preamps due to too high amplification of the input signal. with the dLive this is not possible, you can bring the analog preamp stage into distortion, but no digital clipping can be achieved. that’s a good message.

    but i personally want to see how i have adjusted my preamps. and that means especially with percussive signals, that the response time of the display should not be too slow, so that i can see the level peaks. that’s why i work with the fastest attack time here. the signals with a relatively slow level increase are still displayed correctly, as far as the adjustment of the preamp stage is concerned. actually, it’s only a question of habit and experience, how to handle them.

    i usually set the gains so that the signal peaks show maybe +6dB. then i usually have enough headroom. and headroom is very important to me.
    unless i deliberately want to drive a signal into the distortion. then of course i give more gain.

    to have the faders at the beginning on zero is generally not a bad idea. you can remember this value very well, in addition, the effect sends and the subgroups are controlled in a meaningful way. to achieve this, i sometimes simply go by hear, so adjust a gain not by “so it is ideal”, but by “so it suits me in the level”. if the guitars are too heavy, for example, I pull down the DCA of the guitars a bit until the channel fader stays at zero again.

    as I said: everything is purely a matter of experience, with a lot of practice you’ll find sensible solutions.
    but never forget: always switch on your own head – and don’t just do what somebody told you. 😉

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