How to Control Volume when Auditioning Soundbites

[Rick Cornish]

Could use ideas here....

Running DP 8.07 on a Mac (Mavericks) with an Apogee Quartet audio interface.

When I audition Soundbites by clicking on them in audible mode in the Soundbites window, the volume is screaming loud as compared to how I'm monitoring my track. Turning down the monitors when I audition sounds is an obvious solution, but slows down workflow when working back and forth between the Soundbites pane and Tracks Overview or Sequence Editor.

The manual says the audio for auditioning Soundbites is played through the first output bundle corresponding to the track format (mono, stereo, surround) in the output bundles list. I tried adding another output bundle (Apogee 3-4) and put it first in the list, but unfortunately Apogee can only monitor one set of software outputs at a time (confirmed with Apogee tech support), so I'd have to manually switch outputs in Apogee Maestro (the software control panel for the Quartet) which would be way more trouble than simply turning down the monitors. .

Is there another way—within DP—to control the soundbite audition volume....for example, to route an output bundle back into my main output bundle?

Thanks in advance for any suggestions for a work-around.

[daniel.sneed]

Just my few 0.5cent,on this subject.
My soundbite monitoring levels are quite same level as tracks. There must be some reason around it.

My workflow is built around :
- tracking at relative high levels
- monitoring system gain is set to SMPTE RP200 reference (which you may find elsewhere, in many pro studios)
- a trim plug is set at the very last insert in every audio and aux tracks.

When mastering, or pseudo-mastering, for sure, levels are much higher. But, fortunately the remote command of my monitoring system (JBL4326+sub) has a -12dB switch on it. And -12dB is just what I need to lower gain for that final step.
Never a glitch with levels here.

AFAICT, setting a proper reference gain of monitoring system is of much help.
Little to no need of constant look at all of those meters. I just trust what I hear, and rarely doubt about it.

[Rick Cornish]

Daniel.....
Thanks for your thoughtful reply. Not sure this helps me, but I will follow up with a couple questions...
1. Don't understand what SMPTE RP200—which is a standard for setting the monitoring levels in a control room for movie soundtrack production—has to do with the relative internal bus levels within DP.
2. Everyone has their own workflow in DP—which is a strength of the software—but I would question the practice of inserting an unneeded plug in every channel with the resultant latency, phasing and other errors that would potentially be introduced into the signal chain, in order to correct levels which can better be managed elsewhere in the signal path.

Thanks again for taking time to reply and share your ideas. It is much appreciated.

[Shooshie]

I would question the practice of inserting an unneeded plug in every channel with the resultant latency, phasing and other errors that would potentially be introduced into the signal chain, in order to correct levels which can better be managed elsewhere in the signal path.

Trim is sort of the "extended channel strip" of DP, which should be in the mixer, but isn't. I don't think it adds enough latency to be concerned about, if any. Lots of people use Trim on every channel, simply because it gives you such control over panning, loudness, and phase, as well as the ability to zoom in on any range of the meter. I've been asking MOTU for years to incorporate it into the channel strip. Maybe one day they will.

Whether it's needed or not is up to each individual, but it's not a bad practice to use a lot of Trim plugins. If there is any latency added, and it wouldn't be much, it would be handled by auto plugin delay compensation.

Shooshie

[HCMarkus]

Could use ideas here....for example, to route an output bundle back into my main output bundle?

There you go.

I don't have a problem with relative levels either, but I believe you answered your own question. I imagine if you route an unused stereo bus (top in Bundles list) to an aux track assigned to main bus, you could control via the aux track level fader.

[daniel.sneed]

[...]1. Don't understand what SMPTE RP200—which is a standard for setting the monitoring levels in a control room for movie soundtrack production—has to do with the relative internal bus levels within DP.
2. Everyone has their own workflow in DP—which is a strength of the software—but I would question the practice of inserting an unneeded plug in every channel with the resultant latency, phasing and other errors that would potentially be introduced into the signal chain, in order to correct levels which can better be managed elsewhere in the signal path.[...]

Rick, I see your point, but I just wanted to share an experience about levels: setting a monitoring gain reference did helped me much in achieving *some* constancy in levels, everywhere in my DAW.
Of course, relative levels between tracks do vary much in a mix. That's what I use Trim plug for. Sort of premix. So, when I start mixing, all my faders are set to unity. Reminds me of my analog live mixing jobs, back in the days.
BTW, maybe some latency, or some signal ruining, could appear with a massive use of DP Trim plug, but I never noticed any.

[Shooshie]

...maybe some latency, or some signal ruining, could appear with a massive use of DP Trim plug, but I never noticed any.

I think Trim is one of the most transparent plugins MOTU makes. As I said earlier, it's just an extended portion of the channel strip.

[Rick Cornish]

I imagine if you route an unused stereo bus (top in Bundles list) to an aux track assigned to main bus, you could control via the aux track level fader.

Sorry—How can I route an output bus to anything but my hardware? I would love someone to show me this as I have not been able to figure out a way. Thanks.

[Rick Cornish]

Of course, relative levels between tracks do vary much in a mix. That's what I use Trim plug for. Sort of premix. So, when I start mixing, all my faders are set to unity. Reminds me of my analog live mixing jobs, back in the days.

Interesting approach. I will give it a try.

[Shooshie]

I imagine if you route an unused stereo bus (top in Bundles list) to an aux track assigned to main bus, you could control via the aux track level fader.

Sorry—How can I route an output bus to anything but my hardware? I would love someone to show me this as I have not been able to figure out a way. Thanks.

The top output in the Bundles window is the default for audition playback.

[daniel.sneed]

Rick, in my actual workflow, Trim plugs are set very last in insert chain, just above bus sends.
This ensures *full levels* in all previous insert.
And adjusting Trim plugs won't disturb any previous FX insert, such as comp or gate.

[Rick Cornish]

The top output in the Bundles window is the default for audition playback.

Understood, Shooshie. Problem is, I can only monitor ONE output bundle at a time in Quartet. If I could monitor two, I coujd set one level for my sequence and another for Audible. That's the heart of my problem. Alternately, if I could route an output bundle in DP back into another output, I could adjust the level of Audible at the mixer before it gets to my hardware. In my efforts, that hasn't been possible, but I would love it if someone proved me wrong.

[Shooshie]

Sorry; I shouldn't be doing "drop-ins," as I've missed most of the conversation.

Shooshie