MASTER and meters

MASTER

• Output (-24 to +6 dB): the final trim. It starts at -6 dB so a patch has headroom without the ceiling; turn it up once the sound is where you want it.
• Ceiling: a static soft clip at the output. It is a safety and a color, and it can be switched off. There is no limiter behind it.

Meters

The header’s output meter shows the sample peak in dB, and beside it the loudness in LUFS: momentary, which is the last 400 ms, weighted the way the broadcast standard weights it. Peak tells you whether the ceiling is working; loudness is the number a mix engineer asks for, and it is what a bass line is judged by against the kick.

• Spectrum: the master output, with a marker at the sounding note’s fundamental and another, labelled res, at the filter’s live cutoff (the resonance interval plus whatever the sources are adding), so you can see the peak sitting where the readout claims.
• Correlation, split just above the note: two traces over the last few seconds, with the split frequency shown in the corner. The split sits between the fundamental you are playing and the first harmonic the grind path is allowed to have, so the low trace is exactly the sub’s territory: it should sit flat at +1.000 on any patch. If it ever dips, either something else in your session is putting stereo energy at the fundamental, or the cleanup filter is set too high in Fixed mode and the grind path is regenerating the fundamental and widening it. Switch Cleanup back to Track and watch it pin again. The high trace is what unison, chorus, and the widener are doing, and it is allowed to move. A band with next to nothing in it, more than 20 dB under the other or below -70 dBFS, reads +1: nothing is not wide, and with the sub turned off there is nothing in the low band to judge.
• Per-note loudness: a bar per recent note while you play. Play the riff, look at the bars, and set the tilts until the bars agree.