Master Fader and final output goals

banjo71

New member
I'm doing a lot of self-taught and trial and error on learning how to master so that everybody will be happy. I understand the mix needs to have an average RMS between -30 dB and -18 dB, with a peak signal below -4 dB or so. So I import that HRA file into WaveLab, do some simple processing like removing any DC Offset, normalization to "EBU R-128" specs, I resample as a process instead of during the chain because my computer doesn't like switching from sample rate to sample rate, then I start applying my effect chain. (I don't do a lot of editing, I'm not that smart or talented). I record a lot of bluegrass and acoustic music. So there's got to be a large dynamic range in the master (and in the mix). No compression or limiters on the mix buss.


I apply a Waves SSL G Mastering Compressor, a Softube EQ100, a Klanghelm saturator, sometimes a PSP Vintage Warmer, which is useful just to give it a little more punch and EQ, and finally a Waves L1 limiter. Then you have the Master Faders, and then the dither.

My question is about the Master Faders. I set my limiter ceiling to about -0.9 dB. What is the normal goal of nudging up the master faders? Are we trying to get to just under 0 dB? As close as we can? What's acceptable and what is not here?

Thanks ahead of time for any input on this.

Here are some dB numbers from analyzing the rendered master:

Digital Peak: -1.000 dB
Loudness Avg: -15.5 dB
Maximum RMS: -8 dB

From the meter:
Peaked out at -0.42 dB
RMS max at -6.4 dB

I guess the meter readings are more accurate than a small snippet of audio from the analyzer.

Here is the song I mixed and mastered:

Traveling Soldier - Banjo Hangout Jukebox
 
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Answering would take more time than I have --

Master fader -- Put it at unity and ignore it.

Peak -- Less than clipping. If you're working in PCM and going to go to something lossy and goofy (MP3, etc.) somewhere in the -1dBFS area is a pretty decent place to be usually.

Numbers -- Calibrate your chain and ignore them (except for that digital peak - even though once you get that set in your limiter, you can usually ignore that too). Use meters to calibrate and then use your ears for everything else.
 
About master levels it also depend on where you are gonna upload the music, beacuse soundcloud want one thing as youtube wants another
but i see people most go for the -0.1 so just under 0
 
SoundCloud actually has no spec last I heard (but I haven't searched lately). iTunes is different from YouTube, but we're talking LUFS (aka "loudness" which is what I think [MENTION=110767]banjo71[/MENTION] is referring to). Your peaks can be wherever you want and still hit loudness targets, but of course, if they're -3dB you've left dynamic range on the floor (or wherever you put the life you squeezed out of your mix).

At this point, I target everything for potential YT distribution, i.e., -14dB LUFS. If I ever get someone that wants to push something to iTunes, I'll give them a mix and let them find a real mastering engineer.

I never mix & pseudo-master to anything higher than -0.5, usually closer to -1. Then run it through Orban to confirm reconstructed peaks don't exceed 0dBFS. I assume different DAC or transform might vary from their calculation so like to make sure the highest reconstructed peak is still below 0dBFS.
 
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