For those who mix down multi-track projects through the stereo bus of your software, where do you like the peaks going through the mix bus to be? For example, if I export audio from SONAR, I try to tap zero db on the way out, which are not overloads because 0db on the Sonar mix bus is -3db in the stereo sound editor software.

Assuming you apply some compression/limiting to the resulting stereo mix to make the peaks of the final mix near true digital max, do you try and get that last three decibels out of the stereo mix, or do you come in lower out of the multitrack software and try to add the final 6 db into the stereo mix?

Also, do you shoot for a specific RMS? I'm just learning this stuff, but I find that things start to sound bad if you raise RMS much beyond -15db.

there's a thread on this at PSW...

http://recforums.prosoundweb.com/index. ... 455/13997/