DIY audio mastering, true peak value and master limiter settings

[silent_bob]

Hello,

I'm curious about proper in-the-box mastering techniques. I'm familiar with Bob Katz but I'm looking to get into specifics. I seek professional advice.

Right now I export as 44.1k 24-bit WAV. I check the file (after temporary truncation into 16-bit) with TT meter and take note of dynamic range, peak and RMS values.

DR values are 9 to 15. Peak values range from -4.08 dB to -0.21 dB. RMS values are from -20 to -15. Now I'm trying to figure out how to finesse these numbers.

I reload each 24-bit WAV file into a new Ableton session and apply a limiter to the master with the ceiling at 0.00. I have the lookahead time set to the shortest possible setting of 1.5ms. I'd appreciate any input about the release time, as I currently just set it to auto.

How do I approach these peak values? Should I try to normalize them all to a set number? -0.1dB? -0.01? I've read "not to go to 0.0 because different equipment handles peak values differently, so a reading of 0.0 can still cause distortion during playback." Should I just round the limiter gain setting to a whole number, and get as close to 0 as I can? Increments of 0.25? 0.5?

Across the album, there are times when the RMS values change by as much as 4dB between songs. Should I be concerned with this? ..or is that a scenario where "just trust your ears" and "it depends on the song composition" applies?

I don't want to over-do anything. I just want to approach this professionally without breaking the bank.

Thank you for any information you have.

 

[JURB]

You are splitting hairs. You got what, 100 dB range ? This tweaking is only getting you out of 99.5 dB range. Just make sure the material doesn't hit the limit and clip. this is digital, not like tape where you can get away with it a little bit.

Err on the side of lower level and you don't have to worry about it. And don't compress the music.

 

[silent_bob]

thank you for the reply.

so in your opinion would it be ok to call a track done and final export it for distribution regardless if it has 4 dB of headroom? what if the next track on the album peaked at -0.5? is that something a professional audio engineer might do if i paid for these to be mastered at a reputable studio?

would it be better to just slightly increase all the multi-track volumes within the songs session itself, rather than using a brickwall limiter in a new mastering session?

i know i'm being overkill, i've just spent a ton of time working on these tracks. way too much time. i know this is the final stretch, and i just want to see it through til the end with the same level of perfectionism.

i'd love to hear from other audiophiles (audio engineers, perfectionists?) about how they finish up their tunes.! thanks again

 

[JURB]

Four decibels sounds like alot, it kinda is but not ridiculous. I would try to get it a bit closer, like 2 dB but then that is again, splitting hairs in a way.

If you already have tracks that peak at a certain level, it is probably best to make all the tracks you are going to bundle together to peak around the same level. anything minus, the lower the better, anything plus and it will compress, and you REALLY do not want that. When it gets compressed that way (it ABSOLUTELY CANNOT go above 0 dB) there is no way to recover the dynamic range. Carver came up with a peak unlimiter that was supposed to take care of that but I am sure it did not work all that well. It simply can't. Like a low resolution picture, something is gone. His gizmo probably made it sound better, but fidelity means true to the source. Sounding better is a different thing sometimes. High fidelity, just try NOT to change the sound in any way. When listening that is a different story, crank the bass, use an expander, whatever you want, but keep the source right as possible.

 

[JURB]

What you brought up here raises a question in my mind. I seem to remember, dunno but I think a high end cassette deck, had a function where it sits and detects the peak level as you play the whole piece. It holds the loudest reading so you can set the level right where you want it.

 

[silent_bob]

Thanks for your replies. I know that none of my tracks are peaking (passing 0). Whenever I do apply a brickwall limiter, I always re-export the WAV into 16-bit to run it through the DR meter. I verify that peaks still haven't passed 0 with the configured limiter settings. I also scan the waveform peaks visually, even though it's probably unnecessary.

If I understand you properly, in regards to having too much headroom, would it just be better to go into the song session and slightly boost volumes for each element (for example, changing a piano track currently set to -15, to a new setting of -14.5, and so on for each song element)? Instead of using the brickwall limiter? I always thought it was OK to use a limiter in a new mastering session, so long as there's no clipping in the end.

Your second reply makes me wish I had the money to pay a studio to record the album to magnetic tape for the master. The music has an old quality anyway. Thanks again for your input

 

[Binkman]

not to butt in but sounds like your cart is over powering or a record (lp) mis match. and yes you will find albums cut from near masters and they will need to be mixed one by one cut. other factor maybe your lp is worn out and riding the groove as noted stylus.
hope it helps.

 

[elnaldo]

Did you ask at gearsluts.com? No affiliation.

I think it's the right place for this kind of questions. A lot of recording studio professionals are registered there.

 

[vinyldavid]

Honestly, this is well beyond my experience.

I mainly work in classical live recording for clients who understand that I give them an exact (mostly) un-level changed copy of the concert event. If all the songs on the record subjectively sound the same level, I wouldn't worry one bit about it. I also wouldn't care if the whole album has sleight changes across the whole thing.

I'm one of those people who believe it's not a problem for the end listener to have to adjust the volume if it preserves dynamics of a natural event.

Mastering is something that should be left to the professionals-I have friends who are mastering engineers, and they have tricks in their bags that I couldn't even begin to afford, use effectively, or recommend that anyone else get their hands on, so I just deliver the best sounding mixes I can for my clients.