What is the first thing you do and use to control levels?

You just opened a project and you want to make sure all tracks do not exceed -12dB.
 
What do you do or use?
 
Do you reduce the gain?
 
Do you limit?
 
Do you compress/limit?
 
Just wondering, thanks.

The first thing I do is get a recording with levels close as possible to where I want them to be. I used to record much hotter but now I shoot for something comfortably over the noisefloor but with room for gain staging. Once recorded, I use channel gain/trim to a target average. This will vary by track type but I always do this before any compression or eq. Once I am satisfied, I (if necesary) do a high pass rolloff and then leveling via compressor  if necessary.  For me, this approach allows me to be gentler with compressor.

As was said above, get it right going in and you have zero problems come mix time.
 
This is fine when you're recording with microphones, but a lot of "recording" these days is done either by recording midi into a vsti or composing in the track/staff views.
 
You have to take each case as it comes. If you're happy with the dynamic variations you've applied to your midi sequencing and the levels are too hot, go into the vsti and reduce the level there (the alternative is to use the Gain control at the top of each track (in console view) or via the same control in the Track Header in Track View.
 
Some synths put out a HUGE volume which clips immediately if left at the default - like BFD for example.
I always start by going into the BFD mixer and reduce every fader by at least 9dB

Now... as everyone should know by now, I'm still learning (particularly general production skills) but I was under the impression that there is absolutely no need to record at -12dB when dealing with a DAW. I make sure I get as hot of a signal as I can before clipping then turn it down ever so slightly just to avoid any momentary overages. Once it's tracked digitally (without clipping) it should not matter... right? I get a powerful signal and if anything is being overloaded in a track I can just turn down the channel gain.
 
I will however export at -12dB if I am sending raw tracks to someone else to mix and I will make sure my tracks are turned down to -12dB before beginning my own mixes but as far as the actually capture to disk I thought "as loud as possible without clipping" was the way to go.
 
If I am mistaken on this I would very much like to hear the arguments AGAINST this method.
 
Cheers and thanks.

If I want no track to exceed -12dB then I'd argue the correct thing to do is pull the volume fader of that track down to -12dB.
 
When recording into that track, I'd aim for it to be as hot as I can get it with no risk of clipping. How to do that depends entirely on what instrument is being recorded. If it comes in far too quiet, then I'll push the track gain up to compensate.
 
The ideal for me is that with faders at 0, the meters tend to be hitting the orange zone. That's kind of what it's there for, after all - to say "this signal is warm, but not too warm". Then I pull down faders to control what is sent to the buses. Not much else to it.

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.

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.

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.
 
@

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?

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.
 
 

Yes, you are correct...Sonar does not have any control during tracking, as it is all up to the interface. As I said earlier, I used to track hot...I looked for my meters to just hover in the hot stage of "orange" but never hit clipping "red".
 
Now I never leave the "green" or even enter into the "orange" on my MOTU 8PRE.
 
But to get the levels I want, I think I need to reduce those tracking "green" peaks, just a little more.
 
I don't mind adjusting the tracks in Sonar by a little here and there, but major adjustments just doesn't seem right...if you know what I mean.

Something else you can do is insert an effects chain with no effects loaded on it and use that to control gain of a track.