Reduce the gain on the pre-amp, that's all there is to it. I usually go for -10dB, nice signal to noise ratio and it's all the headroom I need.

@ Beep.
 
Yes, you can record hot and then use the track faders to pull your tracks down.
 
The only real problem here is one of ergonomics - you have much greater fader resolution when you're working at the top of the fader range as opposed to the middle./bottom. You try adjusting a fader set at -15 by 0.4dB and see how fiddly it gets (yes I know you can use the shift key to enable finer adjustments but even then it gets fiddly)
Now try it with a fader set at -1.0dB.
 
You don't need to record hot when you have roughly 144dB of SNR to play with. When we were working with 16 bit it was different with a maximum of 96dB available.
 
Believe me, as soon as I started taking this on board and getting all my signals coming it at -12dB (+/-) the whole mixing process became a lot easier and the result was cleaner tracks, easier mixes and a much more open & expansive mix.

Hi, Jonesey. Actually I was referring to the Gain knob at the top of the strip which acts kind of like a trim knob would on a mixer. It's better to do it that way anyway because it gets the signal down enough to provide headroom for the PC effects and FX bin.
 
However when doing this with faders you can retain control by adjusting your faders so that you get the desired levels across the tracks then use Offset mode to pop the faders back to 0dB and then do your regular mixing. I don't really like Offset mode because I find it a little weird to work with.
 
There is another trick that could work and I picked it up from those Anderton Advanced Workshop vids. He was using it to add volume automation without losing control of the faders tot he envelope.
 
What you do is insert the PC Tube Sat module (not the Softube one) in the last spot in the PC strip, keep the drive turned all the way off then use the Input knob (or maybe it's the output knob... I forget but I think it's the input) to control the level. There is no drive added but you get an extra volume control that you can automate or set however you need without touching the faders. Pretty cool.
 
Of course, I am still learning about engineering so could be completely wrong but it does seem to make sense to get the healthiest signal possible if it can be managed inside the DAW without hurting anything.
 
Cheers.

Record at (almost) any level.  Compress and limit each track to taste.  Then normalize each track to -.1 or as close to 0 as you can.  Then set each track fader to -12.
 
It will probably sound like something a monkey flings through the cage bars, but your goal will have been achieved.  All the tracks lined up, not exceeding - 12 dB.
 
Or, treat recording like an art.  Using the preamp gain get as close to -12 dB as you can - which is the center around which I try to constrain recordings.  Realize that most tracks will bounce around all over the place - such is a nice time to have gentle compression before conversion.  Then mix from there.  Unlike analog recording, you can attempt in digital to record tracks not at the maximum, but closer in level to how you hear the volume of the track.  It is just easier to record it a little louder, since you can control volume down easily with a fader, while getting more volume out of a low track takes more steps (see above) and will raise the noise floor, too.
 
@

Beep, cool.  There are a million techniques.  Learning to use those you like is what makes an artist, or craftsman, if you will.  The older I get, the more I like craftsmanship - learning the techniques of an art.
 
@

AT
Beep, cool.  There are a million techniques.  Learning to use those you like is what makes an artist, or craftsman, if you will.  The older I get, the more I like craftsmanship - learning the techniques of an art.
 
@

Yeah, man and you just taught me another way. Really at this point I've studied enough that I could simply be putting together albums (and I have returned to writing/recording a bit more). However if I keep up the intensive studying for a little while longer I'll have way more options to use and tricks up my sleeve. One thing that really ticks me off is getting stuck on something while I'm working then having to stop to research/learn new techniques. If I have multiple ways to do everything I don't have to worry about that as much. I very rarely get stuck anymore and when I do I usually know the answer but just need a quick refresher on the finer points of the technique/procedure. That takes very little time now because I have tons of notes I've made over the past few years, a slew of pertinent bookmarks in my browser and educational vids/text based resources which are all on my laptop that I now I keep in the DAW room as I work for quick access.
 
It's been a loooong haul but when I'm at the DAW things actually get done. It's a nice feeling. Couldn't have gotten to this point without you guys.
 
Cheers.

I hear what you're saying about Offset mode - I tend to avoid that like the plague.
 
There is surely nothing more confusing than looking at a fader and thinking it's at one level when in reality, it's a different one because you adjusted it whilst in OM.
 
I mean, what's all that about?

Bristol_Jonesey
I hear what you're saying about Offset mode - I tend to avoid that like the plague.
 
There is surely nothing more confusing than looking at a fader and thinking it's at one level when in reality, it's a different one because you adjusted it whilst in OM.
 
I mean, what's all that about?

I think it's a cool feature to have but it's definitely kind of a brain twister. I still get confused enough as it is without trying to to keep track of things like that. As I get more comfortable with visualizing the "big picture" of projects I could probably spare a few extra brain cells to process the idea of having a hidden mix within my mix but with all the other tricks I've got going on that are easily viewed and accessible I don't see many practical purposes for what I personally do.
 
Seriously I think if I really wanted to get an "offset" like that I'd just set things up how I would before engaging offset and simply render it all into a new set of tracks instead to start with zeroed settings. I mean if I'm using offset there is a reason for it and it's unlikely I'd go back but if I did need to I could just use the originals and do the tweak and render process again.

What I take from this conversation is that:
 
When tracking, try to achieve the -12 dB level. I wish you could monitor this from Sonar, but I was under the impression you can't, and I don't have any other way to monitor it, other than on my interface...which does not necessarily align with Sonar, in terms of metering or accurate levels. I think more experimentation is needed to find that sweet spot. Track then play back and check levels...adjust...track then play back and check levels...repeat!
 
Otherwise you must use a combination of gain and then volume faders to bring the levels down. I have found that this approach requires much adjustment and it kinda makes me feel uncomfortable, as if I am doing something wrong.
 
When I first started I used to use to track HOT. Then I made the adjustment to reduce those levels, based on good information in this forum, and I was successful, but it sounds like I have to reduce those incoming levels just a little more. -12 dB is not a hard number...I mean -9 would be acceptable too. I am just trying to give myself room for mastering.
 
It is all still new so it is a journey. After all I work full time and this is a hobby...I miss days or even weeks from sitting in front of Sonar. So it's always one step forward and two back.
 
 

Don't forget you cannot use Sonar's Track Faders or Gain Controls to lower your incoming signal.
 
You probably know this already but other readers might not.
 
Signal attenuation must happen before it hits your AD converters so it must be done outside of Sonar.