In the days of analogue tape the transition from clean to unacceptable distortion was a soft one. With digital recording systems there is no latitude between clipped, distorted sound and clean undistorted sound. This makes the yellow, the new read in 24 bit recordings. However with 24 bit recordings you now have 144dB of dynamic range so you don’t need to record ‘as hot’ as you would with 16bit so you can leave some more breathing space, so record up to the top of the green would be the ‘just right’ for 24 bit recordings. In that context I would recommend working just into the yellow. With 16 bit recordings you have 96dB dynamic range (the difference between the quietest sound you can capture and the loudest sound before you get distortion from clipping). Recording Level Just Right For 16 Bit Recording In the right hand example, the record level is just right, I sound like the Three Bears nursery rhyme!! You are ideally looking to have the Pro Tools meters in the lower part of the yellow section but leaving some headroom for the occasional unforeseen peak not to light the Peak lights and distort. In this case you would need to reduce the signal level into Pro Tools. In the middle example, the signal is too strong and is overloading Pro Tools and the Peak lights are on. On some other hardware you will have record level controls on the interface that you can adjust.
On an HD rig you will need to adjust the level coming from your mixer or mic preamps. In the example above on the left hand channel strip the level is too low, as Pro Tools software doesn’t have any record level controls, the fader only acts as a monitor level control even though it turns red in record mode.
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