Hi vladasyn,
 
If I understand you correctly, there are no "settings" per se. But you can change the "visual range" (the range you can see) by right-clicking the meter and selecting the range you want. This is nothing more than a "zoom" feature for the meter to make it more readable.
 
In Sonar all the ranges are based on "full scale". The 12dB "Range" just means the meter will only show levels between 0 and -12dB. If you are trying to verify a signal peaks at -3dB, this is a good range to use.
 
However, if a track's signal peaks below -12dB you will not see it at all using that range. When this happens, change the scale to a higher number until you can see the signal.
 
The meter range has nothing to do with where your signal levels are actually at. Those are set by your recording (input) levels. Verify them by checking the "Audio Scale" at the beginning of the clip in Track View. Stretch the clip window down or maximize it to see the scale better.
 
You can change them by adjusting your input level, or after the fact by going to "Process -> Apply Effect -> Gain" in the File Menu and then Cut or Boost them by as much as you want. Now is when you verify the levels by checking the "Peak" numbers just under the meter (in Console View).
 
For example, if a track signal peaks at -0.2dB and I want it around -3.0dB I can do 3 things to fix it:
 
1. Lower the fader to -3.0
2. Keep the fader at 0 and adjust the clip using the "Process - Gain" menu
3. Re-record the clip at a lower level
 
Steve

vladasyn

John
One thing I have found helpful in mixing is avoid raising faders and try to lower faders. Even if this means you lower all of them. If a track seems to low in volume don't raise the fader lower all the others. Of course after one has lowered all the faders then its OK to raise them as needed, individually. Another reason to use a Control Surface. I like to at least lower them by half. -5 to -10 on an MC
 
Start low and work your way up. 
 
 

John, it is very nice rule when you have 5 tracks. When you have 70 tracks, you can not lower every track just because you need to increase one track level.
 
I have to say this again: when they say, -3 Db, it should be full scale. Where do you see settings for the meter scale in Sonar? The way my meter set - it is going from 00 to -39. In that sense -3 Db means something different than full scale. How do you change Sonar to show dBFS - dB Full Scale?

Its now as hard as you think. Using a CS makes its rather easy. I do it as the first thing I do before I start mixing. 
 
Its worth the time it takes 

Using Quick Grouping for this - Shift+drag select across your tracks in either CV or TV, then Ctrl+drag one fader down - that will do the same for all selected tracks.
 

I was trying to say that but didn't get around to do it, Steve. LOL Thanks man!

John
I was trying to say that but didn't get around to do it, Steve. LOL Thanks man!

 

stevec
Using Quick Grouping for this - Shift+drag select across your tracks in either CV or TV, then Ctrl+drag one fader down - that will do the same for all selected tracks.
 

 
Of course you could also do this using Busses so your not dealing with so many faders at once.

soens
Of course you could also do this using Busses so your not dealing with so many faders at once.

I don't recommend that. You really need to be at the track level. 

Good point.

Regarding this comment:
 
"Yeah. One trick I'm learning is to set the one track I want to be heard (usually main vocal) where I think it should be, then raise the others one by one around it so the 1st track isn't drowned out."
 
Very good thought.  For most rock, country, and pop, however, I start with the kick and bass levels—not because they should be heard above the vocal, but because they take the most bandwidth.  I still see the logic in setting the vocal first, although I would not know where to set it without the other tracks.  Maybe there is a standard starting point.
 
I have solved my problem by sending everything to buses (except one-off sounds).  I then get the mix as close as possible without toughing the bus levels.  Then if I am a little off on the peak level, I will adjust all the buses up or down slightly.  This is easier because the individual tracks have a lot of automation moves while the buses generally stay at one level, or have very limited movement.  This way, I can reduce the number of tracks/buses to adjust from 50 to 5 (for example), and reduce the number of automation nodes I have to adjust from hundreds to less than a dozen.  In the final analysis, the buses should not be very far off nominal.  (Of course, I could get the same effect but adjusting the master, but I never want Master to be anywhere but 0 , except during a fade out.)
 
 

The interesting this is when you have a set of real VU meters on your stereo mix that is how you do it. If you are starting with vocals you use the VU's to show the first levels eg -5dB to -6dB VU. Then as you bring in drums and things with care you end up with a full mix with everything just hitting 0dB VU. A lot of the great mix engineers do it this way. If you are working at say K-14 then by time everything comes in and you are 0dB VU it also means there is 14 dB of headroom sitting above all that too. Peak metering does not help you in this regard much. Only rms metering can show you this sort of stuff.
 
That became obvious to me reading the books 'Behind The Glass' Vols I and II.
 
It is good to start with the end instrument that is the main thing in your mix. Vocals are great to start with actually. With care you can still have a full mix with everything in but the vocals are still up there being number one. Creating rhythm sections first also can involve the VU meter. You can build all the bass and drums and things and get the VU's just hitting -3dB to -4 dB then you have room for all the rest including the lead instrument.
 
BTW the small mono speaker down low is the best way to set vocal levels on top of musical backing. Many have them too loud. The small quiet speaker makes you keep them lower and much more well balanced with the music. When you look at the VU's you see the vocals are not changing the voltage much or if at all yet it becomes so clear.