Mixing with Pre-Fader Metering (DAW’s)

I’m sure many of you have heard the classic audio mantra, “Use pre-fader metering when recording and post-fader metering when mixing.” Now, there’s nothing wrong with that. However… I’ve learned that mixing with pre-fader metering tends to be more beneficial to me. For some, this might sound strange; to others, this is something they’ve been doing forever, and the rest are wondering…WHY THIS IS EVEN IMPORTANT?

Well… I’m glad you asked!

Before I explain the benefits of mixing with pre-fader metering, let me explain what it is. When working in a DAW (I’m using Pro Tools and Logic), you have the option to enable whether your meters are pre or post fader. In pre fader mode, your meters show the signal level after the inserts. It is not affected by the fader level. Therefore, the fader could be at negative infinity dBFS but the channel will still show the signal after the last insert. In post fader metering, you meter is affected by your fader level as well. Therefore, at negative infinity, no signal showing on the meters.

You might ask…wouldn’t it be beneficial to see the signal level as you are balancing the faders? Well…that’s when it comes to personal preferences. There’s nothing wrong with mixing that way. However, as I got further into the industry, I noticed many people used pre fader metering a lot more. After making the switch, I’m never going back!

SO LET’S DIVE IN!

When recording, pre-fader metering makes the most sense because you want to make sure that the audio/converters aren’t being recorded with clipping. If you’re in post fader metering, you run the risk of clipping your signal without knowing because your meter is showing the signal after the pro tools fader. If your fader is not at nominal level, then you can’t tell exactly how much signal is getting recorded to the multitrack post converters. Therefore, if you use pre-fader metering, you can ensure whether your signal is recorded without any clipping.

When mixing projects this is very beneficial to me as well. One of the first things I do when I get a session is to clip gain each track so that the highest peak hits at -6.0 dBFS. (There is nothing significant about -6 dBFS, it’s just a reference point that I chose). I clip gain my tracks to that level for a couple of reasons. At -6 dB you are getting a strong signal level when your fader is at nominal level. Faders are much more accurate closer to the nominal mark than they are near the bottom of the the fader strip.

In this picture, you can see that the distance between 0 to -5 is much bigger than from -30 to -40. It’s easier to make finer level adjustments closer to 0 than it is near the bottom; as a slight fader move will result in a bigger level change. In digital systems, this is not as big as an issue as it would be in an analog system; since you can accurately fine tune each fader in a digital system with no noise or audio degradation.

Once I clip gain my audio tracks to -6, I know I am getting good signal level in each channel. Now…why do I keep it in Pre Fader mode?!?!

Pre-fader mode allows me to ensure that I am getting good signal coming after my inserts. I want to make sure that I am not clipping post plugins…or even from plugin to plugin. By keeping my metering in pre fader mode, I can make sure I am getting good channel signal level, even if my fader is turned down. Also, I don’t have to open my plugin each time to check the output meters #TimeSaver. This concept applies to my parallel busses, effect loops, etc. I can tell if they have good signal prior to the fader level.

Lastly, when I’m mixing, I don’t want visuals to affect how I mix. I find that when I’m mixing with post fader metering , the meter level affects my choices. When I mix in pre-fader, I know that my fader moves won’t affect the channel meter, and so I am forced to use my ears for getting my balance.

NOW DON’T GET ME WRONG…IT IS VERY IMPORTANT TO KNOW WHAT YOUR SIGNAL LEVEL IS AFTER THE FADERS AND WHEN AT THE MIX BUS… HERE’S A FEW TRICKS I USE WITH PRE-FADER METERING TO COMBAT THAT.

For each channel, whether it’s sending to the subgroup or mix bus, I have a VCA, Aux, or Master fader to help me control and monitor the signal. For example, for my drum group, all the audio tracks are set to -6 dB peak. All my drums are controlled by a group VCA, Master Fader, and Aux Channel. The aux is then sent to my mix bus (which has a master fader of its own). The reason I have it set up like this is because…

Once I get a mix of the drums I can use the VCA to control the group’s faders. The master fader gives me an extra opportunity to see the signal before the sub aux. Even if I have plugins on my subgroup aux, I can always view how much signal is being fed into the aux using that master fader.(Although it is not necessary since I’m using a VCA, it allows me extra flexibility if needed). At my subgroup aux, if I add plugins, pre fader mode will allow me to keep tabs on the signal, even if the fader level is changed.

I mentioned that I have a master fader for my mix bus as well. Why is that?

Since, I’m dealing with a hot signal that is consistent throughout my entire mix, the levels at my mix bus is hot, and often clipping quite a bit. When master faders are linked to a channel, it can control the signal prior to that channel. Therefore, if I am hitting my sub mix hard, I can attenuate how much signal is fed going into the submix’s channel. Even if the master fader is clipping it’s okay because Pro Tools is a floating point system. As long as the signal fed into the mix bus is proper, then no signal quality will be comprised. (I’ll talk more pro tool’s floating point system soon.) From my mix bus, it is sent to an audio track that is used to print my mix.

Using pre fader metering, I can ensure that I’m getting good gain staging throughout my whole mix. For example, by getting good signal in each track, I don’t have to crank my threshold all the way down till a compressor starts to recognize the signal. I’m hitting all my plugins and even outboard gear at a good/stable signal level. This is important when sending to outboard gear especially, since it can introduce noise to your signal if you have to crank the input/output knob a lot. IT’S ALL ABOUT THAT GAIN-STAGING SON!

All in all, you can achieve a great mix whether it is pre or post fader metering. It just depends on how you like to mix. Personally, making the change to pre fader metering helped me finish my mixes a lot faster, while keeping everything organized. I hope you enjoyed this article. If you have any questions, let me know, I’d love to go into further detail! Hopefully, I’ll be able to explain it better in a video soon as #TheMixForce is coming back into action. Hope you enjoyed, and as always…

Happy Mixing!