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Just giving a quick listen on phones, it sounds very good. Nice job. The only one small thing I noticed was a bit of sibilance on the vocal, primarily in the first verse of the first song. As it gets into the song it becomes less noticeable. Really a minor thing. Other than that, it sounds...

Yeah, I was just going to quote you, but it seemed like taking the easy way out :D

Not really. Early cd masters would have headroom throughout, and many cd's would be a couple dB's away from digital full scale. This progressively changed through the mid to late 90's when br limiters and clipping became vogue. If you're not using a br limiter I wouldn't be concerned with...

It depends on how you go about it and want to have things set up. There's really no one right way, because everyone develops their own work flow that works best for them. I use one session for each song. If you're working on all the songs in one session,.. do you have each stereo mix on it's...

I've had clients use Kuniaki before, and from what I know, you'd put the mastered cd in a PC disc drive and upload directly from that. It's a fully automated process, but decent for quick affordable short runs. If you only have ddp and not a ref cd, you'd need to convert to cd first.

Some of the things that I hear coming out of home studios these days rivals some of the best done in commercial studios, and some stuff out of commercial studios can rival the worst coming out of home studios. Those lines have been blurred for a couple decades already...So it's hard to throw...

Level is a small part of it.. and probably the easiest.. .Continuity and translation from song to song and system to system and over all having good sound is a bigger part of it ..and also the technicalities of assembling the master for replication, distribution and broadcast.

I can definitely see this being true because there are charletons and quacks in every profession known to man and women. Just because someone hangs a sign on there door doesn't mean they are good. If you trust your own ears, expertise and system to master, there's no reason you can't do things...

Here's some podcast dedicated to mastering: Square Cad: The Mastering Podcast - Latest Episode I wouldn't look at it as being daw specific. They all pretty much function in a similar way. Having an honest room and special attention to critical listening is half the battle. ..and then do it...

If the band has live drums, I'd record basic tracks in a studio with a good drum/live room .. if you were going to do all the overdubs and mix yourself, find a good ME that also does mix consultation ..there's also the possibility to work with stems which leaves a bit of flexibility.

Again, thanks for your concern about how I phrase my response .. but for the record my answers weren't definite. If you take the time to check it out further .. I gave 3 options in the first 3 sentences of my post based on what he was talking about concerning level before mastering. 1...

If you say so... I almost feel ashamed now...but lets not talk about me.. ..What is your answer to his question? He wasn't asking about mastering levels at all. He was asking about his mix levels before mastering. (see his quote below). How many times do you see people with their mixes...

99 times out of 100, the person asking that question has their master meters led's lighting up like Christmas trees. Gain staging issue's etc.. I don't think he would be asking if he needed nice level if he already had nice level. I could be wrong.. but I'm trying to do the best translation...

I don't think there's any problem peaking right up until 0 dBfs although there's really no reason to, ... If it ends up getting mastered through an analog chain the signal has to be attenuated a bit anyway. It's also good to leave headroom room for any added eq etc , but I don't think that it's...

English is probably not your native language, but yes, if you want to create headroom, you'd want to put a trim plug on every channel and decrease the gain. You could also lower the master fader. The main thing is to make sure there is nothing that is peaking in any channel or plugin as the...

I've never looked at or went by a digital read out to shoot for or know what the highest peaking or average rms number is when judging loudness. People will work differently, but any kind of number in the regard to loudness will be misleading and I feel it's much better just to use your ears in...

Hi Chatterbox, Thanks for taking the time to sign up under anonymity to have your first post point out something I did not say. I did not say or imply that "the entire wave needs to be in the air around you" as you've written above. The quote by me was not even stated as a fact by me and I...

Thx. Always on the look out for good speakers. Other ones that I've heard good things about are from Unity - The Rock and The Boulder, Neumann/KH 310's, Trident Hg3, and Tyler

Nah, I didn't mention loudness and in fact believe that the better speakers have the tendency to be quite linear across the frequency spectrum at any volume given the right amplification and room, but there's other things to take into account like the Fletcher - Munson curve / Equal Loudness...

I think John mentioned earlier but if you mix and master for the best sounding systems in mind, it will trickle down and translate to the lowest common denominator. I believe the speakers and monitoring chain including the room is the best possible investment to make any any music related...