Originally Posted by rickrock305
I think you forgot to post the link?
-18 is just...weird. maybe they calibrate their converters way out of wack or something. i'd definitely be interested to know the whys and the hows of that.
I used to end up with mixes at this level after I came back from the console because I wouldn't be slamming the master buss on it and instead would crank my monitoring chain so I could listen loud but not have the actual mix chain clipping.
I used to have them at -21 db lol.
My ME would still do great things with these mixes btw, he'd make up the gain with 2 channels of Neve pres and then run it into his mastering chain. Later on, I just started sending him stuff that was at -6db, but at first capture they were still coming in at -20 to -18, because I never changed the way I monitored. I would just do a digital volume increase to -6db in Cool Edit.
But I wouldn't be shocked if some people didn't even bump it up to -6 and just sent it in that way.
Regarding the loud mixing thing, I think you gain alot more by the way you capture the sources in the first place and as well the way the song is arranged (HELLO PRODUCTION VALUES ANYONE!!), if you are going for loudness.
There is always a sacrifice of some kind when you have these gigantic super dense tracks that have to be 2010 radio station loud after mastering. You're either losing some low end or punch or both for the sake of brainless volume.
The sad part is it seems like the mastered versions of the commercial stuff is so loud that the broadcast limiters completely squash them to get them into spec.
So they sound QUIETER on the radio.
I'm always reaching to turn up the radio stations so I can hear whatever I'm listening to and then turning down the CDs in whatever car I'm driving because they are super loud compared to the radio.
And to answer the original question, I completely prefer to have a compressor in parallel on the 2 buss than on it directly. I used to do this on my Yamaha MG series mixer (before I went crazy with technology) and engaged a foldback mix (that was on a separate buss) that blended a seperate buss (for aux mixes etc) back into the main mix. I would route all the channels to both the master and the foldback buss and blend the foldback mix in parallel on a separate fader. It definitely phattened up the mix.
Now I'm looking for the perfect compressor for that duty and I have my eye on one.
I wouldn't dare touch a limiter on the 2 buss for mixing though.
I leave that to mastering.
If its just for rough listening purposes then I use Stillwell Event Horizon. Pretty sweet limiter/clipper.