Tarekith wrote:I say leave the master alone (no limiter) and turn the channel faders down, aim to peak around -6dBFS or less. Try the mixdown article I linked to earlier, it answers all this and more to get you up and running asap so you can focus on writing, and not digital audio restrictions.
I stopped doing this and started using some kind of master buss compression because I noticed that my carefully set initial levels had to be readjusted quite a lot (well, not bass really) when I added gentle compression at mixdown (even more with Limiter).
When I compose I have this on and off, to not bind myself too much to a certain setting. All settings are gentle, though makes a difference.
Soon I took up always using a drum buss and when I applied gentle compression at that stage my drums improved considerably. Even more with mild saturation.
As I use -18dB RMS as starting point for most tracks and instead increase my monitor volume and as at least one music partner didn't understand this concept I started using a Limiter with gain on the master to give back the volume already at that stage. Typically when I work on my own this is off, but before I share a project I turn it on and listen trough the track, sometime making small adjustments.
A finished track is typically delivered without limiter to the master engineer, but I keep my master buss compressor as I've mixed in to that at mixdown. I don't see how I can do otherwise?
At this point a big part of the final sound I want is dependent also on the master buss. I suppose it's a good idea to also make some tracks as you describe, Tarekith.
To challenge your assumptions, keep and open mind and learn from everyone works for me as a concept.