....

Yuri,

I'd agree with Brad, but would add that don't think that because it's rock or whatever that it needs *any* compression as a rule. I have a simple process when I master that is my most important "technique". It's called the "bypass" switch. If I'm doing anything, I always hit the switch and ask myself "does this sound better or worse (you gotta match levels first), or does this thin out or hurt the sound. Not one type of music always needs the same thing. Try it with no compression across the 2 track, or when you master. Tell me how it turns out!! BTW, I moved from right outside DC (I lived in DC too). How's the weather?

Hi Paul,
DC Weather is 84, m/sunny 55% humidity, not much breeze today. We haven't hit those nasty 90's with icky humidity and no breeze at all yet but we'll get there soon enough.

I appreciate you getting involved in this forum. I've been in audio for 15 years, started as a back for a sound co., then monitors, then FOH. I've been recording since I started guitar 20 years ago but not studio style 'till 10 years ago. Always in the midline studios or my basement. I currently work a day job in radio.
I have done some masters before but I was flying by the seat of my pants. For live sound and recording I had mentors but for mastering there aren't that many people around to copilot for. When I read posts about getting the sick RMS to peak ratio popular these days I ask about compression. Is it more accurate to ask about using brick wall limiting (ala' L2 I guess)? Do you guys find that there are certain adjustments you make that are most common? What is the work sequence you follow for a tune or set of tunes? What is your final aim (other than getting the clients check in the bank ;) ) I'm just trying to get a hold on the basic workflow and then get my ears to catch up as I get more accustomed.

Yuri,

Nice to hear it's not too hot! I remember the Jan of '90, I lived on Q St. and we were up on our roof catching some rays! I'm surprised that I never ran into you
out there. It seemed like I knew just about everyone {g}. As far as the L2 goes, yes, I use it. It's not that a big hit on the quality...and...it's a fairly painless way to
get something reasonably loud without extra compression. I just mastered a solo piano CD on which no compression or L2 were used!!! Just a Touch of a Manley Massive Passive EQ then straight to the Apogee converters. As far as a work flow goes...it's kinda different every time. If I'm doing it alone I usually listen to the tracks without anything added, check any notes that the client included with the master, reference any CDs that they may have sent (they might say "I like the bottom end of this particular CD"), then check a few of my fav CDs just to calibrate my brain :p then I try to edit/master in the order of the CD (important to me). After I recheck everything I load it up and set the pause time in between songs by ear (never just a standard 2 secs!!) and then burn a ref and check it out on my systems/car etc... If it's cool then I'll burn a 2X master with PQ code log and a few copies.
Hope this helps!

Alot of albums these days are beng smastered
. And my clients don't want there CD to be any less loud than there favorite band. I have no choise but to L1 the living crap out of it. I prefere the sound of an umsmastered CD.

Jeremy,

Good to see you here. Get a spell check tho dude (u r a worsz speler den me). BTW, your CD is almost done (whoo hoo).