If a label asks u for -3dB tracks to master?

[dirty_bass]

cool man cheers! and would it be common for u to send them all the parts of the track so they can individually treat them or would it just be the whole track itself?

the reason why im asking cos my method of producing/mastering is to parallel compress every element in the track then mix the track down to -3db and then just bring up the overall level from there with compression etc.

Well I have to agree with IQ here.
Compressing everything?
that`s very very bad production.

Ask yourself this.
Why?
Whenever you apply any effect to a sound always justify it.
Some of the best producers in the biz will tell you, 80% production comes from the choice of sound in the first place. And to not even EQ at all is better, by just choosing sounds that fit together well.
anyway, I`m wandering off the point.

So why are you parallell compressing all the elemtns in your trakc?

Compression increases the size of a sound, by reducing dynamic differences and peaks. You are flattening the sound out.
You can`t have every sound wide and phat and loud.
It just doesn`t work like that.
You will end up with a loud mashed up mess, lacking in any dynamics and clarity.

Are you just using compression to get the level of all your tracks up?
that`s also terrible practice.
Good Subtractive EQ allows you to increase volume, by reducing unwanted frequencies.

Compression should be used sparingly.

[acos1]

Well I have to agree with IQ here.
Compressing everything?
that`s very very bad production.

Ask yourself this.
Why?
Whenever you apply any effect to a sound always justify it.
Some of the best producers in the biz will tell you, 80% production comes from the choice of sound in the first place. And to not even EQ at all is better, by just choosing sounds that fit together well.
anyway, I`m wandering off the point.

So why are you parallell compressing all the elemtns in your trakc?

Compression increases the size of a sound, by reducing dynamic differences and peaks. You are flattening the sound out.
You can`t have every sound wide and phat and loud.
It just doesn`t work like that.
You will end up with a loud mashed up mess, lacking in any dynamics and clarity.

Are you just using compression to get the level of all your tracks up?
that`s also terrible practice.
Good Subtractive EQ allows you to increase volume, by reducing unwanted frequencies.

Compression should be used sparingly.

cheers man i never thought of it like that. i wouldnt say i compressed everything in the track but i did compress kick, bass, lead and percussion. but i can see your point definitely. ill try just letting the elements stand out.

when u say good subtractive eqing lets u boost the level of the track do u mean it lets u take out unwanted frequencies which in turn lets u boost the level yourself, or do u mean by removing unwanted frequencies that audio actually sounds louder itself?, (probably a stupid question but i couldn't resist asking).

[dirty_bass]

when u say good subtractive eqing lets u boost the level of the track do u mean it lets u take out unwanted frequencies which in turn lets u boost the level yourself, or do u mean by removing unwanted frequencies that audio actually sounds louder itself?, (probably a stupid question but i couldn't resist asking).

Kind of both.
On the individual level, by removing conflicting frequencies between sounds, you can increase the volume of certian sounds without affecting the whole mix drastically, as when the volume is increased they aren`t conflicting and clouding over each other.

Then when it comes to getting to a good mastering engineer, if your subtractive EQ is good, and you haven`t used compression to try to make everything "stand out" then the engineeer can then begin to increase levels with compression and such, and not have to worry about sounds spreading together too much, and forming a mash. Thus with a quiter pre master, you can still end up with with a loud final mix that has that all important "punch" and clarity that will make it stand above something mashed and flat.

Kind of like comparing a carefully prepared recipe, using the best ingredients, that all complemenet each other, with a fine and subtle use of herbs and spices, to a huge microwave pizza with tomato ketchup and some chilli sauce to make it taste of something.

[Barely Human]

Kind of like comparing a carefully prepared recipe, using the best ingredients, that all complemenet each other, with a fine and subtle use of herbs and spices, to a huge microwave pizza with tomato ketchup and some chilli sauce to make it taste of something.

Hahaha, nice metaphor man. Does schranz come under the pizza catagory? Maybe minimal could be dry toast

[BloodStar]

Kind of both.
... Thus with a quiter pre master, you can still end up with with a loud final mix that has that all important "punch" and clarity that will make it stand above something mashed and flat.

good advice, Steve.
as for the RMS. What RMS you advice as ok,?
I sometimes tend to make mixes which are not loud enough (lets say -12dB RMS and -5dB peaks), but to my ear it still sounds more comfortable and with more depth, than tracks peaking near to 0dB with RMS above -8dB., but in compare to other tracks, i hear mine are quiter, which is not a problem as far as I have a volume knob.
Was just wondering, what RMS on umasterd or lets say pre-mastered track you think is too loud and what is not loud enough?

[dirty_bass]

good advice, Steve.
as for the RMS. What RMS you advice as ok,?
I sometimes tend to make mixes which are not loud enough (lets say -12dB RMS and -5dB peaks), but to my ear it still sounds more comfortable and with more depth, than tracks peaking near to 0dB with RMS above -8dB., but in compare to other tracks, i hear mine are quiter, which is not a problem as far as I have a volume knob.
Was just wondering, what RMS on umasterd or lets say pre-mastered track you think is too loud and what is not loud enough?

Well, that`s a very case specific and subjective question.
I would say you can go some way to reducing unwanted peaks for sure.
A Low cut at 35hz won`t do much harm.
Some minor cuts in the top end as well etc.
As a rule, never go too hard on the EQ, cuts and boosts of more than 3db will introduce distortions to the sound, no matter what the EQ, so maybe go back and look at the choice of sounds you have made in the first place. Try not to be too precious about individual sounds, always look at the whole piece.

Basically, in answer to your question (as much as I can Vlasta) I would say if you are making music that sounds full and present and deep, and there is a large difference between peak and RMS, then so what, don`t worry too much.
If by reducing these peaks you are effecting your work and becoming unhappy, then you are obviously making the wrong choices.

I always work by my ears first and foremost. Any rules, techniques etc come second to my ears.

As a last point, it`s always good to run a analyser over your tune in premaster, get some detail on the areas where the big peaks are, and work out what is causing them. Then you can decide if you want to reduce these peaks or not, with more ease.

[RDR]

Some excellent advice there steve.

If i can be so cheeky as to add...

A/B your mix with already made tracks you think sound excellent and try to match the harmonic balance and levels.

dont treat it as the FINAL thing, but perhaps something to aim for and also be aware that these tracks have been mastered already. nothing wrong in trying to copy perfection in production. Copying mastering , particularly hammered final masters such as those from some people who limit and expand their tracks to death is a big NO NO.

NB... author is fairly drunk.