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Originally Posted by Lagerfeldt  That's not correct. You seem to fundementally misunderstand how things work.
Delivering a 24 bit mix that peaks at e.g. -12 dBFS, -6 dBFS or -3 dBFS will basically have 0% influence on the final sound or loudness of the mastered track. What's relevant is how the song is mixed i.e how the different parts in the song are mixed (and compressed/limited) in respect to each other. Not having the final mix song peaking near 0 dBFS.
If anything, delivering a mix that peaks at -3 dBFS or above could have a detrimental effect on the final outcome, as you risk the mastering engineer having to attenuate the whole signal digitally (depending on what chain he's using).
Even assuming he's only cutting (not boosting) at the first level of EQ, phase changes will likely cause the mix to overload when printed very hot, thus introducing an extra processing step of unnecessary attenuation across the whole spectrum. |
um. this explains nothing. you've already said all this.
i've seen and heard alot of pre-mastered mixes done by tops guys on SSL's. i've never seen or heard a mix peaking at -3db... let alone -12db. that's just ludicrous. most had peaks near 0db and already had a RMS around -12 to -14 db. i'm talking about guys people have heard.
granted if a mix is slammed with compression (which i don't recommend) but is only peaking at -12db... bringing it up to commercial level won't be a problem.
no one should ever mix a song thinking about the mastering engineer.
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My personal aim has always been to try and get the mix to sound exactly like how I want the finish product to sound. If it means my peak is going to be higher than -6db without actually clipping, then so be it.
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exactly.