> No need to normalize.  If your final stage is the L1+ Limiter, then the
> maximum level of your tune will be set by the L1's "Output Ceiling".  If
> it's set to 0.0 then voila, your track will be fully normalized.  If you
set
> it below 0.0 (e.g. the "16bit Final Master" preset is set to -0.3) then
your
> track will be at that level.  You could then normalize it to grab those
> extra fraction of a db, but if that is your intent, then you might as well
> set it to 0.0 in the first place.


i will have to desagree with this (and i'm not saying that you HAVE to
normalize). The process can be done in a million ways... but normalize is
almost a rotine, since is just to level the HIGHest Peak to the digital
maximum.
The satandard work we do for dinamicaly rich productions is to manually low
the obivious high peaks that can interfere with a logical normalizing, this
when you can observe like 3 or 4 adnormal peaks. If you lower manually a
peaking wave (allways with snap to zero crossings function ON) around 4 dbs
is not noticiable when you playback that area... but allways test for having
sure.
After normalizing and you can aplly limiting more confortably, because you
DO know that offending peaks are under control. simple reason but very
important.

One of the best ways to get around this black magic technics is to find some
other producer and "trade" tracks for mastering, since you are more that
addicted to the sounding of your own track. Is very important that you have
clear ears when you start a mastering and also make some good pauses between
changes.
Allways keep the original version to check the changes around every 15 min.
As for speakers, all the top Mastering studios that i've visited (in
Portugal) have some pairs of high end Audiophile speakers and one normal
pair of linear ones, usualy Genelecs or Yama's NS10. They all claim (and i
later on agree with them) that the real mastering are done on the audiophile
speakers, they will use the linear ones to check the studio�s evoirment.


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