The fader-at-unity method sets all faders to 0 dB first, then raises gain — prioritising visual clarity and fine fader control over preamp signal strength

In this approach, all faders are set to 0 dB (unity gain) before soundcheck begins, then the gain knob is turned up to achieve the desired level in the room. Keeping faders at or near unity ensures that small fader moves equal predictable dB changes (because the fader’s linear travel maps roughly linearly to dB at unity), makes it easy to spot a knocked fader, and shows exactly where to return a fader after a momentary boost for a solo. The tradeoff: anyone sharing the preamp receives a weaker or less even signal. For dynamic performers, zero may not leave enough headroom, potentially forcing a gain change mid-show — which is problematic for monitor mixes that can’t be heard from the front-of-house position. Setting faders at -5 dB instead of 0 is a practical compromise that preserves the benefits while adding headroom.

Examples

All faders at 0 dB; gain raised until a vocalist’s natural speaking level produces a comfortable level in the room. If the vocalist suddenly shouts, the -5 dB starting position provides extra headroom before feedback.

Assessment

Explain why increasing the gain mid-show (not the fader) is especially problematic when running monitor mixes; and why does the fader-at-unity method reduce the chance of needing to do this?