Educate Me

Hi. I do also have ARC 2.5 and put it last in the chain always. I use the flat setting when using it.
I use the SSL comp on both buses and tracks. You don't have to buy any more plugins. You will be fine with what you have. Bapu will disagree
Using several/serial compressors are also quite common. Try them in opposite order as well. Limiter at the end.
I don't have the d16, but if it sounds good...
All the best.

is your room treated 
 

ian vargo has a nice mastering in the box tutorial.  Pro Audio Files  https://www.youtube.com/watch?v=ls9k_M09Xq8

tlw
For a, let’s say “different” point of view on room treatment from someone with a bit of experience....

https://m.youtube.com/watch?v=QdbwKvdX9ik

I liked that one. This is why at first I was mixing my backing tracks through my PA system. The closer I could replicate the way they will be played back the less re- mixing I needed to do. 
After a while I also know what that mix will sound like through my different studio monitors so I rarely need to re mix these days. 
 
The bottom line to all this is you need to LEARN your listening environment. I don't think you need to spend money to achieve a great sounding mix. I would just spend time in the studio experimenting with mixes, then take those mixes elsewhere and come up with what works and what doesn't work. As said, we have all the tools we need to make great recording that came free with Splat. You cannot purchase engineering skill, it just takes time and practice.  
 
My currant studio set up design wise is a terrible layout,  but I have been working there for 10 years and I make it work. 

 

What you're talking about it here really is mastering, which is a whole new discipline in itself.
 
If I need a quick master, I use the Auto Audio Mastering System : http://www.curioza.com/
 
There's a free version and a paid version. The only real difference between the free version and the paid one is that the paid one has more options, and gives you a bit more info as to what it did during the process so you can tweak it.
 
I used the free version, then upgraded, but to be honest I didn't need to. The free version does everything I need - like I say, I only need it when I want a quick master and basically want my mix to be louder and fit for CD or sharing.
 
I find the results comparable to LANDR (no worse, no better really), which to be honest is pretty good.
 
Another option is to use BandLab's automatic mastering service.
 

I set the Brickwall limiter to -.04 

 
This catches any overs and so far for me it's seems to work perfectly. When I analyze the song with Wave Lab it always shows Peak level is exactly that. 
But Peak level and RMS level are two different things. 
The RMS level can only come up buy more or less pushing your tracks to the max without you "hearing" the compression. 
You go track by track and maximize each track so it has a nice solid level. Use a compressor to bring up the lows or use automation etc ,, your choice.  But each track needs to have balls.
I assign parts to busses and there's where I keep an eye on that second level. I'm pushing the level without going over on every buss. Sometimes I use a buss compressor or limiter.  
 
 

Instead of ARC, I recommend SONARWORKS Studio bundle which includes SYSTEMWIDE which allows ALL your sounds on the computer to get the benefits of the room correction. THIS IS HUGE!  SYSTEMWIDE can be purchased standalone as well but I happened to have the bundle with Headphone, speaker, DAW and Systewide support and my mixes have gotten so much better!  It also allows you to listen to reference tracks say from a CD or media player etc to run through the same correction so you can REALLY properly analyze your mixes and sound.  I also have ARC which I no longer use unfortuantely. Sonarworks is just way better all around

Have you been following this thread? its the same topic.
http://forum.cakewalk.com/How-to-maximize-loudness-without-crossing-the-red-zone-m3770819.aspx
 
As said ( I think) there are hundreds of methods for achieving a mix that will stand side by side with commercial music. Its part of our plan to learn how to do this even if it's just a hobby, It's a good idea to reach this level of skills so our friend can enjoy our music.  
 
It sometimes takes detailed work to get there. It the part I enjoy the most about mixing, details. 
I used to spend a lot of time in Wave Lab on tracks that were very un even and had a lot of almost over peaks. Vocals are certainly the worst offenders. I would manually adjust the peaks and low spots using the Gain tool. You can get very microscopic. 
Now I just carefully use compression/ limiting at all steps to even them out. 
I also will use other tools like volume envelopes and applying ( rendering) gain to bits and pieces. 
And another HUGE thing I do is watch the low end! Low end can easily push your master buss into the red and kill everything else. I use the pro channel hi pass on just about everything. Between 85-100 does the trick. 
 
 

I think ARC 2.5 is a great program. I just updated from 2.0. For those using the older version thinking about upgrading it, you don't need the new mic since 2.5 lets you calibrate with the old mics. I bought the new mic anyways.
The calibration procedure has to be right in order for it to work the way it should. I'm almost anal about how I do mine. I make sure I'm sitting in the chair in the same place I sit when I mix and I have the mike exactly at ear level. I also take one measurement with my studio door open and one with it closed because that changes things.
Mixing in a smaller space with  standing bass waves is pretty common. You will likely see a notch in the low mids on the EQ in ARC. ARC isn't perfect and I suspect it sometimes over compensates in very small ways. I would still never want to go back to mixing without ARC in my space. The challenge is to know the limitations. If ARC is taking slightly too much low mid bass out of your mix, then you will mix a bit too much bass. I compensate for that a bit by going back and forth and using headphones without ARC. It is a process for sure. Once you have it nailed down though your mixes will be much better. Still light years better than working without ARC.
 
On the volume of your mixes- One of the first things you need to do is make sure that what you hear from your master is at the right volume for your room. If using a go between program from your interface manufacturer make sure the levels are set right in it before it goes to the daw. If you are monitoring at levels adjusted too high then all of your mixes will be quiet. I tend to have my levels set at just past 50% when I mix. Check your source material. Did the signal going into the interface go in at a good healthy level? -6 to -8db is a good rule of thumb. Too much gain at the channel stage and there's nothing to play with in terms of gain later on. Bass overloads inputs usually more than the higher frequencies for a given gain. Options are to use side chaining or a dynamic EQ to only reduce the bass when it begins to get out of hand. CbB has a compressor in the PC with side chaining ability. Doing all of these things allows you to drive the total mix up higher at the master bus. Anything below 60hz should be rolled off unless you plan on making one of those thumper tunes that shake the dentures in old peoples mouths. In those mixes the bass kills everything else.
 
On limiting- I'll tell you a little secret. In some genres 0bd is exceeded occasionally. In fact it's a normal thing. The peaks don't overload the inputs into clipping. The more you limit, the less personality a track has. Limiting was originally intended to tame only the worst peaks and bring up volumes slightly. If the gains are already into the stratosphere there isn't anywhere to go and you end up crushing your track. Perceived loudness comes mostly from the mids. The low mids OTOH are usually where the unpleasant "mud" can be found. If you can get those frequencies louder without the bass overpowering the mix you've come a long way towards getting your levels up. Not every channel needs compression. Sometimes you hardly need it at all. Precision frequency notching using a spectrum analyzer can go a long way toward seeing where the mud is and removing it. Then you can move the master level up higher.