CD mastering has changed dramatically in the last few years.
In the early days, we all were told that the RMS level of a CD should be -12 db, below the 0 db which is the absolute ceiling for digital media. Then as compression and peak limiting became more available, levels started to rise and rise, until now, using spectral limiting and really pushing the parameters, its common to achieve -4db ‘peak’ RMS – which sound like a contradiction but isn’t, and a true RMS of around -6 to -8.
WHY?
Because its not good if your CD sounds quiet on the radio or in the club compared to everyone else’s.
There are exceptions of course, Classical and some experimental, and ambient, and a capella, and folk/acoustic and . .well quite a lot of exceptions, now I come to think about it.
Anyhow what I do in mastering
First I listen carefully to the artist and producer to find out what they want to achieve.
Then I top and tail the tracks, put them in order, work out the fades, and gaps.
Then I listen to all the music with that in mind and develop a strategy for achieving their desired effect.
Then we start to process, whatever is necessary to achieve the desired effect.
Sometimes I finish the session, send the producer away for a day or two with a 'first master' and then have a second go a few days later after all the interested parties have had a chance to contribute their points of view ( or hearing).
 This recently happened with The Spooky Men’s Chorale, recorded in the Blue Mountains and mastered here . I even had to remix one track completely.
Stephen Taberner , who is a perfectionist in his own way, has two shots at it and in the end was very happy. Overall damage about 10 hours including a remix. Time and money well spent.
On the other extreme, I re-jigged a lo-fi CD the other day and it only took 2 hours. The company was well pleased!
Oh yes, you can have it really loud if you want – but there are trade-offs. I did a 50 or so song compilation for Shock which got a ***** review in Rolling Stone. I had to get some garage recordings up to the standard of Hoodoo Gurus at their peak – that was a challenge, it was all hovering around the -4 mark. Yes, loud it was. Sold well though. The trade-off? Well the louder a song is, the less dynamic range it tends to have. In the extreme that compression artifacts - sounds created by the compression process - can start interfering with the music. I usually back off a bit from that position unless specifically asked to do that.
So if you want to master something, get it right, and still eat, drop me a line. We can talk.
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