A typical recording chain for electric guitar with a modeler pedal (e.g. IK Multimedia ToneX) passes through three stations before the signal lands in the DAW. The basics are covered in the article “Gain staging in the DAW” — here it’s specifically about what gets adjusted at which of the three stations.
Station 1: the modeler pedal
Two knobs, two different jobs: the amp model’s internal Gain/Drive knob is a tone decision — how hard the virtual amp gets driven is set by ear. The pedal’s Output/Master Level, on the other hand, is the gain question: set it so that your loudest playing produces a strong but not clipping signal (most devices show clipping via their own LED).
Station 2: the interface/mixer channel — the decisive spot
This is where the actual gain staging happens, not in the DAW. Check two things:
- Input type: a modeler pedal outputs a line-level signal — so set the channel to Line, not Mic (no phantom power needed), and usually not Hi-Z/Instrument either (that’s meant for the guitar directly, not for an already-processed pedal signal).
- Gain/Trim knob (not the fader!): set it using your loudest playing moment, until the meter reads around −12 to −6 dB.
On some mixers, the signal sent to the DAW via USB is tapped before the fader — in that case the fader only changes headphone/monitor volume, not what reaches the DAW. If in doubt, check your device’s manual for “USB Pre/Post Fader”.
Station 3: the DAW track
Nothing gets gain-staged here anymore. The track records exactly what arrives at the input — regardless of where the track fader sits. Leave the fader at 0 dB while recording; it’s purely a tool for the mix afterward or for headphone volume during tracking.