This article looks at gain structure in a digital domain.


What is gain structure?
Gain structure is the balance of levels between each stage of amplification. In Ableton Live there are really only three stages of amplification we need to look at. These are:

Source Level:
The first stage of the signal is either the sample or the synthesiser. For the example of this article I will be using Lives native synthesiser ‘Analog’ to produce white noise. To begin, I will produce white noise at 0dB.





Nothing is clipping yet. However, if I apply an EQ that is cutting frequencies after the synthesiser it starts to clip! How is it that cutting frequencies boosts level? I cannot answer that question however, I assume it is due to the algorithm used to program equalisers.





So, with this knowledge I would say as your first step of gain structuring it is safer to lower the level of your samples or synthesisers by about 4 or 5dB as a precaution to prevent clips from plug-ins like this.


Plug-in Level:
The second stage of the signal chain are the plug-ins. If all plug-ins behaved like EQ8 and added 1 or 2dB to a signal then you would have to turn the source (synthesiser or sample) down more to compensate for this. Fortunately, not all Lives plug-ins work this way. Some subtract signal and other add signal. It is a good idea to keep an eye on the individual output of plug-ins in your effect chains to make sure nothing is clipping.


Fader Level:
The final stage of amplification in Ableton Live is the fader. The fader comes after the plugins and this can be proven by turning your faders down and still seeing level in the output of plug-ins.





When there is many channels in a session one should turn down all the faders individually to have them ‘fit’ through the master channel without clipping. Many mastering engineers like to receive 24bit .wav files with about 6dB of headroom, so turn all your faders down until your master channel is metering at roughly -6dB.





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Cheers,
Bill.