level too hot in pro tools

[knobtwirler]

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About any -10/+4 level matching switch, if you are using +4 professional equipment like balanced condenser mics and not consumer grade mics, I would not use -10.

Microphones are neither +4 or -10. Those are line levels, not mic levels.

Oh. I guess I don't understand how a +4/-10 switch affects hot levels from a mic input on a 002, since those are line levels. It must have no effect at all then, right? I got brain derailment with the introduction of is idea. The +4/10 switch would only be for hooking up consumer line level outputs to the line inputs of the 002, not the mic pres.

[Zoltar]

Just a quicky: 24 bit has more headroom than 16, although who uses 16 anymore...

[farview]

Just a quicky: 24 bit has more headroom than 16, although who uses 16 anymore...

24 bit has more 'foot room'. The extra bits are on the quiet side. The headroom depends on how the converters are calibrated.

Example: If the converters are calibrated so that line level = -18dbfs, you have 18db of headroom. If the converters are calibrated so line level = -12dbfs, you have 12db of headroom. This is regardless of how many bits you have to work with.

Now, because 24 bit is quieter, converters tend to be calibrated with more headroom than they used to be with 16 bit. But 24 bit really doesn't have more headroom than 16 bit.

[knobtwirler]

Just a quicky: 24 bit has more headroom than 16, although who uses 16 anymore...

24 bit has more 'foot room'. The extra bits are on the quiet side. The headroom depends on how the converters are calibrated.

Example: If the converters are calibrated so that line level = -18dbfs, you have 18db of headroom. If the converters are calibrated so line level = -12dbfs, you have 12db of headroom. This is regardless of how many bits you have to work with.

Now, because 24 bit is quieter, converters tend to be calibrated with more headroom than they used to be with 16 bit. But 24 bit really doesn't have more headroom than 16 bit.

Maybe he meant it has more dynamic range? Does it really? If I calibrate my 24-bit converters for more headroom and run it through an SSL, the board will distort at the same level no matter what the dynamic range is, as will my home stereo if it is mastered too loud, right?

[farview]

Maybe he meant it has more dynamic range? Does it really? If I calibrate my 24-bit converters for more headroom and run it through an SSL, the board will distort at the same level no matter what the dynamic range is, as will my home stereo if it is mastered too loud, right?

All your analog gear will distort at a certain voltage. You will want to calibrate the system so you are running levels in all of your equipments 'sweet spot'. Mostly, this is done for you because of the line level standards. It's up to you to make sure that you are using the same standard throughout.

With digital converters, there is no real standard. That is where the confusion comes from. That, and the fact that the metering isn't focused on the sweet spot, but on the absolute ceiling.

[inflatable]

If they are dynamics, try hooking them up directly to the Line In. If they really are hot enough to drive the pre then engaging the Line In switch should just introduce a pad into the signal. I recall reading Phill Brown using a high sensitivity mic on Kick and plugging it straight into the recorder. Try it and let us know. It may sound like shit if the loading isn't right, but the only rule in recording is "make it sound good."