Here is an excellent video on matching loudness when mastering from UK Mastering Engineer Ian Shepherd. Read the accompanying blogpost here: How to master a song loud – and the price you pay.
I found it really interesting, Ian often approaches things differently than I would, which leads me to new techniques. From this video in particular, I noticed he adds gain at the start of the fx-chain, and I would normally last. I asked him about it on Twitter.
ianshepherd: To avoid any confusion, the “How to make a song loud post” is new – and includes a video… http://t.co/288kGbqP
theaudiogeek: great video. Do you normally keep the limiter threshold at 0?
ianshepherd: Actually it’s usually at -0.3dB, but I sometimes reduce it to -1 if I’m pushing things really hard
ianshepherd: It works both ways – I just prefer to push the level into the multiband – it means I rarely need to tweak the threshold
theaudiogeek: interesting. I usually start at -6 for threshold. I do the loudening very last in the chain, and you use the gain plug first.
ianshepherd: And, reduces level-changes when I bypass. More info: http://t.co/V6EbhlPn and http://t.co/90FskFkS
ianshepherd: If you exceed -6 dB input with a threshold of -6, is it still clean ? Or does it clip ? Or does it depend on the DAW’s float?
theaudiogeek: here’s my general strategy for using Ozone 4. http://t.co/nqNwoFUX Lots of different ways to kill dynamics.
ianshepherd: Ah, OK. So setting Ozone’s threshold to -6 dB effectively boosts the gain, so the audible effect will be similar.
We both have our reasons, neither is wrong. I get better at mastering every time I talk to Ian.
If you liked this, you’ll probably get a lot of use from Ian’s eBook “Mastering with Multiband Compression“.
You may also like this episode of The Home Recording Show where we discussed Dynamic Range Day, mastering, etc HRS # 111 with Ian Shepherd and Allen Wagner