If there are no issues with your mix, the sections will glow green. If there is an aspect of your mix that needs to be fixed, the section will glow red. The six section icons are clickable and open up a new dedicated central display. These dedicated displays give you a relevant insight into the technical details of your mix. If an issue has been resolved you can reset the section from red back to green by clicking the section icon. This summing process can cause dramatic changes to your master. Many listeners will experience your music in mono when they are in clubs or bars. When auditioning your master in mono it is advisable to listen through one monitor. This is because the low end can feel 'hyped' when listening in mono through two monitors.
The Early Days of Digital Audio
It lists dj-sets and their tracklists, file details, dates, artists, clubs, events, radio shows, podcasts, flyers, etc. Only the visual information on mixesdb. That is a minor change at the start and at the end. The result of this is that there is written no unsyncedlyrics tag if there is no information at mixesdb. The URL of the reference page at mixesdb. I did no extensive testing this time. So if there are any problems with certain pages at mixesdb, let me know! Thanks for the script. It works good.
Keeping headroom in mind throughout your process is the best way to achieve the right mix and get the best master. Making sure you optimize your headroom at every stage of your mix is the best way to avoid compromising those all-important dynamics. Headroom is the available space in dB decibels between your loudest peak level transients and 0 dBFS decibels full scale. Many people get this confused! The transient peaks are clipping! These kinds of levels leave no room for mastering. No need to add plugins on your master bus for the sake of loudness.
Then comes the flood of varying responses, but the most common is to see somebody suggesting peaks at -6 or -3 dB. You had to be careful not to clip the input which could easily sound bad. The suggestion for peaks no higher than -6 dB was a safe and general recommendation for good reason back then. Digital audio has advanced by leaps and bounds since those days so putting too much thought and effort into peaking at -6 dB or -3 dB in your DAW is more or less of a waste of time. As a mastering engineer, I really only care if the peak levels of an unmastered mix hit 0 dBFS decibels relative to full scale on a bit mix file. If the mix is being captured from an analog source, you may want to be a bit more conservative and attempt to keep the peaks around -6 dB because some cheaper and even some decent analog to digital converters can sound a bit harsh when the very top range of the input level is used, but hopefully your ears already tell you this. Beautiful dynamics, and adequate headroom for mastering work.