Definitly do not let it pass 0db for sure. i'm not sure what the others will have to say, but as a pretty standard practice for me, i try to keep the peaks around -6db...no higher than that really.

i record at 24 bit and i keep mine at -6db to -8db so allows for some headroom.

Giving yourself some headroom always makes more sense. Especially if you want a Mastering Engineer "to make it better". You don't want to pay a ME just for damage control. You want them to give you that extra sparkle. You need some sparkle space to make that happen. And so, 24-bit mastering, makes sense in that situation as it gives you more room to move further down. So being lower doesn't mean it's not good. It means you have some sense to yourself and will end up with a superior product because of it.

I'm tired of this snow. Can't get into my studio. Blah!
Ms. Remy Ann David

Remy could you explain a little more about that last comment. It seems really interesting, and I would like to know more. Particularly the part about 24 bit recording and the sparkle bit, and how it allows you to have lower volume levels while retaining quality. Is that true?

RemyRAD wrote: I'm tired of this snow. Can't get into my studio. Blah!

i hear you.

Imaginaryday wrote: i record at 24 bit and i keep mine at -6db to -8db so allows for some headroom.

really? as far down as -8db?

Imaginaryday wrote:

helpful. thanks!

You lose nothing (nothing audible) by mixing with peaks at -8dB.

When it goes to the mastering stage of the lifecycle, they can slam it up 0dBFS once they're finished with their magic, when the producer starts prodding them in the back.

Even if you master it yourself you should keep it lower on mixdown. Then when you master it, you can slam it.