If I'm sending to a mastering engineer I will give him a stereo track that peaks at -6db.  This retains the automated dynamics and gives the mastering guy enough headroom to do his thing.  I also mix into the master fader compressor.
The tracks breathes better and sounds more natural than something slammed for volume.

McMoore11
If I'm sending to a mastering engineer I will give him a stereo track that peaks at -6db.  This retains the automated dynamics and gives the mastering guy enough headroom to do his thing.

 
Please convince anyone else who sends anything to mastering engineers to follow your example.
 

Thanks so much everyone for your insights and knowledge, I really appreciate it!
I have pretended to play around with that LP Multiband but it scares the stuff out of me because, although I think I am hearing good things because of it, I guess I have trouble trusting my ears. I used to always use it when playing around with the idea of using it in mastering but have almost discarded it lately. I use it very sparingly I suppose you could say, whereas, in the past, I relied more heavily on it. For what it is worth though, I have tried to follow the same process that you use CM because I think that it feels (sounds) right. I will reconsider its usefulness though, and thanks for your input on that Cactus.
 
I wish I had your confidence bitflipper! Maybe one day I will (with guys like you all!). I will remember the rule, thanks.
 
Hey, Anderton, that's what I thought I had uncovered, so it sent me back to mix, looking for more volume-it has to be the solution it seems. It seems like slapping on a limiter is way too easy not to mention distorted and gnarly-sounding. So I agree with what the majority seems to saying (unless I got this wrong) that I need to stick with my original idea of generating the loudness (most of it)
from the mix portion. I thought this must be correct but I wanted to hear what you wise ones had to say and I am glad I asked and you all answered. Thank you sir!
 
Then there is the dude-chuckebaby. Wow, man, you are an awesome person (like the other guys too). You provide all of this personal knowledge and your personal stats on how you do things. Mainly though, you take the time to write all of this down for others. Amazing man.
 
I really appreciate your list because I am a list kind of guy-so long as the list is accurate, which I know yours is because I have heard quite a few of your tunes and they sound professional to me.
 
If you have the time, and its alright if you do not, I am not following you on your first step for mastering chain:
 

1- Linear EQ to drop off/filter APPROX 30HZ and under.
 
Are you talking about high pass/low pass filtering? Where you cut out the low end and the high end? I do cut the extreme highs and extreme lows and actually even more than that for my style (hard rock/metal) because I think that it sounds "better". Please explain what you mean if this is not it.
 
I almost got the SSL Bus Compressor last go around but didn't know if it was as great as I have since learned that it is, so I am looking forward to hearing whatever difference that makes on my stuff.
 
I have only the L2 and the L1, do you think I can get by with those two for your step 4 and 5? I almost got that too but didn't know if I was qualified enough to use it. I understand that it is more complex than the L1 and L2. Do you believe it is necessary enough that I should have it as well? Will it make a significant difference? A noticeable difference?
 
I have a couple of CLA plug-ins but not specifically the one that you mentioned. Does that one that you mentioned add significantly to the better end product-the master?
 
I respect and honor your "secret sauce" and will try to develop my own, but thanks for everything else that you so graciously provided! I will try and implement each and every one of this pieces of advice into my next "session". That goes for all of you guys too. Thanks!
 
If you can't get back to this I understand but I hope you do.
 
Also, McMoore11, thank you for your input but I am afraid that, for now, I am still clinging to the belief that I can master this myself-I'm just goofy that way. You know, like when you continue to run your head into a brick wall over and over.
 
 
Thank you everyone and I look forward to anything else that you wish to add, if there isn't anything more I still feel very lucky that you guys shared your wisdom with me!
 
bob
 
 

Not to start this whole discussion again, but a steep low roll-off is better done with a regular (a.k.a. minimal phase) EQ than a linear EQ.

Good stuff here... What about using plug ins on the master bus if you're not intending to send it out to get mastered by someone else?
 
Edit:  oops, just saw that OP asked the same question...

Anderton
 
 
Please convince anyone else who sends anything to mastering engineers to follow your example.
 

Thanks Craig.  In this instance I concur.  
In other examples it would be wise to have bail money squirreled away.

bobernaut
1- Linear EQ to drop off/filter APPROX 30HZ and under.
 
Are you talking about high pass/low pass filtering? Where you cut out the low end and the high end? I do cut the extreme highs and extreme lows and actually even more than that for my style (hard rock/metal) because I think that it sounds "better". Please explain what you mean if this is not it.

 
When you start boosting everything, the last thing you want to do is boost Low end too much.
That's why placing the Linear Phase EQ first is important. your not hearing much under 30HZ anyway.
 

Sanderxpander
Not to start this whole discussion again, but a steep low roll-off is better done with a regular (a.k.a. minimal phase) EQ than a linear EQ.

 
 
 
Yet you did start this discussion again.
Just say it like it is... That's your opinion.
 
Can I hear some of your examples that were mastered with min phase EQ ?
My example is in my sig.
 
 
 

For me its probably 75% in the mix.  The master only adds a little bit of volume.  The master stage for me mostly provides "glue" and "pop", assuming I did the mix.
 
During the mixing stage, I buss things a lot, with small stages of compression at each stop in the chain(sounds much  more natural than trying to do all the compression in one single stop).
 
 Like lets talk about drums for example, just to make sense of it.  I will gate each close mic and sometimes even the snare if there isnt much going on with the snare.  I will then do a bit of EQ and then light compression on each individual drum track.  Compression settings are typically as follows.  Slow attack around 30ms to keep the transients, and a moderate to slow release just depending on how it sounds(maybe 60ms or so), and I only want to see about 3db worth of compression(and I compress at a ratio of usually 2:1 but as much as 4:1).  If I REALLY need some thump or crack from the drums...  I might even apply a limiter to individual tracks as I see fit.  
 
 I'll then bus all the drums to a master drum bus using the output on each track.  That whole buss is compressed the exact same way I explained above with slowish attacks, modest release, modest ratio, and only about 3db total compression.  I'm keeping a lot of transients, but bringing out a little more fullness yet.  And again, it sounds better than compressing all at once to 6DB on the bus....vs 3db on each track and then 3 db on the buss..
 
I'll also send each individual drum(using track sends) to another "buss" just to parallel compress the whole kit together with slightly more extreme compression(I tend to send hotter levels of the close mics and lesser levels of the overheads so the cymbals dont get to splooshy).  Here I do real fast attacks and releases, often with at least 6:1 ratio and a much higher ratio is not out of the question.  Im usually looking for more like 10-12 DB of compression out of this bus.  This really brings the roundness out of the drums. It doesnt sound good on its own but sounds nice blended in. 
 
Then I will output that parallel compressed bus to the master drum buss and blend it in to taste.
 
I often approach every group of instruments like this, and by the time the mix is complete.... its darn near as loud as the master will be.
 
FYI Im usually working on harder rock to metal type stuff. It might not be the best approach if you are doing some softer styles where you need/want a lot of dynamics(I tend to fake dynamics with tons of volume and panning automation).
 
One last note.  Most of what Im talking about here is perceived loudness.  It DOES NOT need to smash the meter on the master bus lol.  You can be a few DB away from unity on the meter and the track is still going to have a ton of loudness before a master is performed.
 
 

Thanks greg, for your answer and input, I know it takes quite an effort to write this stuff in and for no reward, but I say thank you sir! I have recently been messing around with the parallel compression because I think that I can see that it pretty much must be done in order to achieve the competitive amount of "loudness". I have read various articles about parallel compression but it was nice to have you explain more specifically what you do and how you do it. I knew that there was still something that I was missing and I believe that it is probably the parallel compression largely. That, and saturation, but that is probably another topic. I mean, where else can I get this volume from? If all else is correct (recordings, technique etc) then there are not too many places left to find more volume...loudness...other more technical terms. Not that I know of, anyway. 
So, thanks for your say in this. I am about to go nutty with the parallel compression to see if I can find that extra loudness (perceived, right?).
Also, chucke, I tried your set-up and I think I dig it. I added a couple of small things to it-what you might refer to as "secret sauce", and I am really close now. So thanks again!
 
Oh yeah, I have that Yoad (Yo-ad) video already and it contains great info. I really do need to watch it more though apparently. Knowing that you recommend the same video means I ain't all that far off (maybe).
 
Thanks everyone for your input-I think I am up another notch due to all of your answers!
 
bob

chuckebaby
 

Sanderxpander
Not to start this whole discussion again, but a steep low roll-off is better done with a regular (a.k.a. minimal phase) EQ than a linear EQ.

 
 
Yet you did start this discussion again.
Just say it like it is... That's your opinion.
 
Can I hear some of your examples that were mastered with min phase EQ ?
My example is in my sig.
 
 
 

I have no doubt you get decent results, Chuck, and I don't really get why you seem to take this so personal. The benefits of linear phase are minimal with low cuts and you run the risk of pre-ringing. This is not something I've made up to annoy you.
 
But you're right; this is my opinion that I offer as counteradvice for the OP. Here's some explanation:
https://www.youtube.com/watch?v=efKabAQQsPQ
 
Let the OP (and anyone else) make up their own mind.