Mastering

When mastering a CD, many processes on many different parameters must be performed. One parameter that must be addressed is the relative loudness. A quick fix often prescribed by audio engineers is to normalize each of the tune on the CD using setting of peak level. Normalized to zero do. Through it is long and complicated to go through all these aspects with setting your vocals with the correct level make sure they aren’t loud so that the rest of your mix isn’t now wimpy, and not to low so you lose in the mix Making a test that you load in a commercial CD you like and 1 look at the wave 2 run a spectrum analyzer on it and see where it peaks. 3nowe compare yours, and begin the maddening process of matching.

Once your good at using a limiter or muti-band you will never touch the normalize plug in again. So normalization is not the best way to increase perceived loudness then using a mastering limiter that will give huge headroom. The limiter will not change the lower level sounds the way a normalizer does in rms mode.

This makes all peak levels peak at zero db but it doesn’t do anything for the average loudness or RMS (Root mean square) of the signal being processed. This parameter may vary greatly song to song despite the fact that the signal never exceed zero db. Having found that if you EQ the song to you needs and then normalize the RMS to –11db, making sure to apply dynamic compression to the signal if it exceed zero db you get a very powerful, thick, clean sound. However, this is the whole reason we recommend. We have noticed that the Big boys still are doing something extra that is giving them more headroom without clipping. Supposing that to take 11 db RMS signal and increase the final volume by 2 db or so. If do this, this is not good solution.

A touch of EQ might be needed to soften them or bring them out more depending on your son.

Don’t over do the reverb. Set the pre-delay on your verb correctly and add the verb slowly.

Compression can cloud the mid frequencies because ALL the peaks are reduced (usually the treble end).
Eq after compression will return clarity to the sound and also return a little of the depth that compression usually removes. To learned somewhere to match vocals with music: start your mix by making the snare drum and the vocal equal in volume: build the rest of the mix around that. To check, slowly fade out the song and pay attention to listen for the last thing you hear before the song is completely faded out.
Personally, I fix all the mix problems with parametric EQ first. Then I apply compression where needed and then do a final graphic EQ to restore life to the mix.

You think it’s enough then set the decay time to fit your song. This is only basic and minimal information. If you are not aware of these aspects and how to utilize them, then you need to read up more about them.