This kind of flexibility allows the Track and Console views to be far more than just two ways to view the same type of material. These indicate the highest point in the track and can be extremely useful when mastering.
You can also choose whether peaks are held or locked (I recommend checking both), as well as show Peak Markers. These settings are independent from equivalent meter settings for the Console view. Choose from Peak, RMS, or Peak+RMS (my favorite choice) response, whether playback meters are pre- or post-fader, and whether bus meters are pre-fader, post-fader, or pre-fader and post-FX. Also under Options > Meter Options, you can specify the Record, Playback, and Bus meter characteristics. If you generally mix using the Track View rather than the Console, then you can extend the width of the Track Pane, enable horizontal metering, set them to a fairly wide playback range, and enjoy high-resolution metering. If you use the Console for mixing, this is a good choice because you can see more track parameters in the Tracks Pane, as the vertical meters don’t take up space along the bottom. When vertical, the meters behave more like activity/clipping indicators, because when you collapse the track to a short height, you basically see only activity and clipping. Choose Options > Meter Options and select the desired option. In Track View, the meters can be vertical or horizontal. For the Track View track meters, choosing the maximum resolution (90 dB) helps reveal if there’s noise at the lower range of an incoming signal. For example, if the meters make it to 0 but otherwise spend very little time in those upper 12 dB, then the track will probably need to be made “hotter” when mastering. With the Console view, I set the output bus meters to 12 dB to help gauge the approximate amount of loudness maximization that may be required.
To change resolution for any audio meter, in any view, right-click on it and choose a range of 12, 24, 42, 60, 78, or 90 dB. Each meter can have its own range.
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