Understanding the need for a Master Fader in our Digital Audio Workstations

Today’s blog is specific to Pro Tools. A part of today’s blog is referring back to something I stated in my last blog (Nov. 21, 2025). When we create a new session, it is either blank or we use a template session (which is what I do). So – we create a brand new (blank) session, add some audio tracks for recording, add some auxiliary tracks for reverb and delay effects, and maybe add some instrument tracks to record MIDI drums, percussion, pads, or keys. It’s all cool.

But wait! – did we add a Master Fader? Do we need one? And why would we need one? Okay, now we need to go a little deeper. First of all, YES, we need one. Here is part of the reason why we do. (Remember, this is specific to Pro Tools) All plugins on Audio, Instrument and Auxiliary tracks are PRE fader. This means that the audio (or MIDI) is affected by the plugins first (if there are any), then is adjusted by the volume fader on that track. Let’s say we add an EQ, compressor, Decapitator, distortion, and Limiter on the track. The audio on that track will go through each of those plugins in series. In other words, first the EQ, then into the compressor, then the Decapitator, etc. The total overall volume, with effects, is what we will see down below on the LED meter on the fader. So if we adjust the volume fader the total sound, with all those plugins, is adjusted upward or downward.

To restate – the signal goes top to bottom, through all the plugins, in order, one at a time, then is affected by the volume fader for that track. Remember this happens for all Audio, Instrument and Auxiliary tracks.

Now, on the Master Fader, this is not the case. All plugins on the Master Fader are POST fader. This means that the level you set with your master fader then goes to all the plugins up above. So if we use the same scenario as above, the compressor and limiter are going to alter the volume level and you will never know what that level is. Remember with compressors and limiters, gain changes are made based on the level of the incoming signal.

The way I word it: If the output gain on the Master is set to Unity gain (0), and then the signal goes through processing, the signal level will most likely be louder when it goes “out the door”. You will never know what that level is. This is particularly dangerous with limiters. If certain adjustments are made on the limiter, it will in turn, make the output gain louder. If your music is distorted when you bounce it and you don’t know why, it most likely is because of this scenario.

Onto Part 2 of today’s blog. The Master channel SUMS all tracks together and makes the multi-track into a stereo L/R audio track. When we bounce our music, you will notice it is always one, single, stereo, L/R audio track. This is what we need to have to share our music with the world.

It is possible to not have any one single track clipping, but the whole song together, with all the tracks, clipping. The total of all the tracks, the SUM, is what we see on the master channel. You will not know if your entire song (all the tracks) is clipping unless you have the Master Fader in your session. This is extremely important to realize.

Try to get in the habit of always leaving the Master fader channel level at ‘0’ (unity). Don’t ever change it. While working on the song, if the volume is too low or too high, change the volume on the monitor controller, or speaker volume on the device on which you are working. I don’t ever change the Master fader level.

As always, I hope this helps.

And……. HEY!! Make it a great day!!

Tim (aka “Wolf”)

If you are working on a different DAW, I would suggest you look into the specs for you DAW.