Question on Setting Levels using Commit

[DonaldM]

Before commit was possible, when I wanted to convert an instrument track's VI to audio, I would set up the audio track and then use the instrument tracks fader level to get the input level on the audio track where I wanted it. Rarely if ever did the level of the fader I had the instrument track set for just listening (scratch mix) levels. Then I'd record the audio track. I wanted to be sure to have a good clean input first.

That seems more difficult with commit because there's no way to monitor the input level in advance. Sometimes (well, a lot) when I hit commit, the resulting audio is either too low or too hot, depending. How do you all deal with this? Am I missing something? Is there some easier way to set the level before hitting commit and have a good idea of where it will be for the audio?

I hope this making sense. Thanks.

[daeron80]

There's a checkbox for "Render Automation: Volume and Mute" which will use the level of your track fader. Granted, that doesn't allow you to monitor the peak level in advance. But commit-undo-change_level-commit is still faster than playing it through to see what the peak level will be and then recording it in real time. As far as cleanly committed tracks, unless you're using 16-bit sessions and printing with RMS levels lower than about -60, the digital noise/quantization floor will be too far down to worry about. If you're using 24-bit sessions, you could print everything with RMS ~-90 if you wanted, then gain it all up, and it would sound perfect.

[DonaldM]

Originally Posted by daeron80

There's a checkbox for "Render Automation: Volume and Mute" which will use the level of your track fader. Granted, that doesn't allow you to monitor the peak level in advance. But commit-undo-change_level-commit is still faster than playing it through to see what the peak level will be and then recording it in real time. As far as cleanly committed tracks, unless you're using 16-bit sessions and printing with RMS levels lower than about -60, the digital noise/quantization floor will be too far down to worry about. If you're using 24-bit sessions, you could print everything with RMS ~-90 if you wanted, then gain it all up, and it would sound perfect.

Thanks, David. I know what you're saying, and that's pretty much what I do. Generally I find that for most VI tracks if I have the output fader around -7db it works out just fine. What I was hoping is that there might be some little feature I missed that would show the actual monitor peak level before hitting commit.

[originalscottyg]

Try turning off "Pre-Fader Metering" in the Options menu. This should make the meters on the instrument track show the level after the fader setting, which should be the levels you'll get when you commit. Just remember to turn "Pre-Fader Metering" back on where you're tracking a live input so you can see your actual input levels.

Hope that helps.

Edit: this will help IF you are rendering volume automation when you commit. If you aren't rendering volume automation, then Pre-Fader metering should show you the committed level.