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Yep. there is no relevance. I was referring to the numbers Barry had posted as being arbitrary because there is no standard for the numbers he posted in the digital scale verses the analog scale even if i did somehow apply to analog modeled plugs.

Using this as a reference would only have relevance if your particular converters were calibrated to those numbers. The reference can change by a few dB in either direction. My converters are calibrated at -15 dbFS = OdBvu for example.

Another option might be to sell the 192 and buy a Lynx Aurora 8.

I remember when I got the Q10 and L1 around 93-94 I thought I was all set when it came to mastering.. I was wrong

I agree. A lot is plain old ear training....and then you can spend a LOT of capital on: Speakers Room Converters Computers Software Hardware Burners Furniture ...it goes on...

Good to hear. One of the reasons I liked Something/Anything a lot was that TR played ALL the instruments on the first 3 sides. Good song writing... great production. I agree his vocal was never the best but he could pull off that Philly soul thing pretty well. He was also quite the producer...

It was at the Berklee Perfomance Center. Nice place..Surprisingly his voice was in pretty good shape.

I had to take a double take on the original date--7 years... awesome.

Just saw him last week perform the whole Todd double album... side a through side d...what a trip. Had Praire Prince, Greg Hawkes and Kasim Sultan in the band...

To prevent clipping when the source is very loud. it's also important to know what a "pad" button does on a mic pre-amp, if there is one available. When activated, it will attenuate or cut the gain by a given amount. The amount is usually designated but somewhere in the range of 10 to 20dB...

+1 - I always go and touch up the head and tails on every song, so leaving a fade a hair long is a good idea as is leaving a half a second or so of lead in time before the song starts. I prefer the client to do the fades if they are sure about it, but either way is fine... as long as the...

By the end of the recording and mixing process, the goal will be to have all the tracks to have the same perceived loudness and continuity through out. It might be easiest to do that as a separate mastering session rather than trying to get all the mixes in the same ball park as you go.

Root Means Squared

Anytime that you apply limiting or compression the dynamics will change. Adding eq will not effect the dynamics so much as it effects the frequency balance. I find it more useful to get that in order most of the time before any dynamics processing.

That's not a bad start for getting the songs to have continuity in eq balance and level. You mention setting the ceiling at -.01. You probably meant -.1 dBFS and I would recommend around -.3 dBFS.. It's not like those tenths of a dB or going to make a huge difference, but this will help in...

Being able to go out board with favorable converters and using the gain staging in this process to play in your favor, helps to preserve and sometimes improve the transient info. Also realize that not all limiters are the same. The mixes come in to play as well. The sound quality is number...

Hi Mike, Unless they have 30 years of experience and the background/pedigree that you do, I'd have to strongly disagree. It's just taking to much for granted and sort of dumbing down the whole thing... There's already a ton of mediocrity in the recording/music biz... it's not like we need to...

Please delete (double post)

You can set the songs peak level between -.5 to -.2 dBFS. The rms level doesn't really matter and doesn't really tell you much as far as perceived loudness. I would go with whatever sounds good and not be concerned with the rms number so much.

Don't believe the hype ; ) It's all in the name of marketing.