am I kidding myself about *mastering*.... (read on plz)

I don't think it's unreasonable. It's really much more about your room and your experienced ears than gear and plugins. When you say it's treated, does that mean effective bass traps (down to 40Hz)? Have you taken measurements of the room to know where it's being less than honest, e.g. where your resonances are?
 
I'm assuming your speakers are up to snuff and you've got a well-placed subwoofer.

Agree with above posts. Good experience ear, well tuned room and decent monitors is most of the battle won. In your case; I listened to your music; specifically "My Light" superbly crafted and well balanced mix. That said; You're definitely on the right track. Wish you all the best! 

See if they call you back

 
"I can accept failure, everyone fails at something. But I can't accept not trying."
- Michael Jordan

Mastering is all about monitoring.  Good monitors, good ears, and a good room.  If you have that, you can gain experience by doing, even if you only use the tools built into Sonar, which are rather good for the most part.  
 
The studio seems like a little startup with some budget equipment and no real experience.  Not exactly competing with studios where one microphone costs 5x their entire locker.   I don't think it is out of the question to collaborate if you want to break into the game.  

The standard formula for on-line mastering services:
 
1. Use a picture of somebody else's studio.
2. Build a slick web page with animations and made-up testimonials.
3. List equipment you've read about on the Gearslutz mastering forum.
4. Use terms such as "competitive sound" (which has superseded the obsolete "radio-ready").
5. Include audio samples where the original is at -20dB RMS and the "mastered" version is at -6dB with gobs of bass. They should preferably be hip-hop and EDM examples, to attract a young (read:gullible) clientele. It also helps if every word ending in the letter "s" ends in "z" instead.
6. Offer to return files in 320kb/s MP3 format, so they'll know you're a pro.
 

Jeff Evans
 
I have found most DAW's have the tools but for the finest mastering situations I have had to invest in extra quality expensive tools. (VST's) They sound better, simple as that and do the job better. You will get a better job with a high quality EQ, compressor and limiter. I have invested close to $750 for those three things alone.
Hardware is not required. Nice to use for sure and I have used some serious hardware mastering tools but I have also matched that sound all ITB. You just need the right tools to do it that is all.
 
 

Thanks Jeff, and good post.  The above extracted from your post helps confirm my thoughts as well.  Where as a $7500 piece of Manley rack gear (as just ONE item) might be expected in the *serious*, top end professional setup along with $75,000+ in some monitors (not to mention the room), I'm aspiring to a much lower level at this point and totally realize my limits.  However, this thread is providing great feedback, in that tools like Sonar, an assortment of nice plugs, and some "affordable" speakers WITH ears that know them, can be a workable situation.  I'm dealing with a $75,000 dollar tracking facility mainly at this point, and feeling what I have to offer is in the same ballpark, so to speak.  I'm not taking stereo mixes from Ocean Way Nashville and thinking even my converters will not do any harm!
Again, I totally agree and understand your remarks and appreciate your thoughts.
That said, I do find programs like CD architect to be "right up there" and a crazy affordable part of the "solution".
Thanks again, all....
Chris

I'll give you my take for what it's worth. I use Sonar to master in every day and am not ashamed to admit it. I also use other programs too because one program does not do it all for me, and I have just about everything under the sun.
 
The one thing to remember here is the level of subjectivity in this field all across the board. What you THINK may sound better to you, may not sound better to someone else. That doesn't mean they are right and you are wrong. It means that you may not have hit the side of them that made them like your work more.
 
You also have to know how to judge someone's mastering. We can bash things all over the place, but none of it is credible unless you can actually hear the REAL final mix vs. the the master. Sometimes your job is to maintain the final mix while adding polish, other times you literally have to sculpt the master. All the stuff bitflipper mentioned about most online mastering place is so true, it makes me sick...and it is also why I don't advertise or even show any pictures of my places. I've been word of mouth since 1999...I like it that way and my doors are always open to people who decide they want to come and hang out...as long as I'm not working that is. :)
 
I'm not ashamed to say I barely use any outboard gear anymore. Why? I don't see a need and have since sold all of the pricey stuff. I had the Manley Massive Passive....one. Price = obnoxious. I got it in the UAD card....price = cheap, sounds nearly the same and not enough of a difference to keep a $4000 piece of gear when I can use several if need be for way less.
 
There is no proof that outboard gear makes a difference for the better other than in the ears of the beholder that prefers pieces like that. So don't ever let that scare you, mix. I do jobs for some pretty big people over here and work with engineers with Grammy awards. They know what I use and love me just the way I am. I record, mix and master for individual clients and recording studio's from all over the world. I do forensic audio for local cop shops and the FBI and we do just about everything you can think of other than video shoots. I'm not using anything secretive other than a few of my techniques which are borrowed and embellished on. I use really good plugs, really good programs, great monitors, my rooms, my know-how and my ears.
 
That said, you have to keep in mind that there are other things that go with mastering that people don't think about. You are the last person to work with and review this material. There is a lot riding on the decisions you make. Most people look at mastering as just eq, leveling, limiting to insanity and then shipping stuff off. There's way more to it than that which I'm sure you are aware of.
 
The most important thing people don't realize is....the pre-master editing. You are responsible for every little pop, click, glitch, oscillation and artifact. Without the right ears and knowing what to listen for, someones recording could suffer. I go through an intense listening and editing session for every piece of music that comes through here. Nothing gets by me....NOTHING. I can hear two gnats screwing in another room...trust me when I tell you. Though I'm not proud of that ability because these horny gnats can get on my nerves, it is nice to have near animal hearing....especially in this field. :)
 
I can't tell you how many butts I've saved due to engineers missing things. Effects that ended up mono that shouldn't have been, lack of detail when crossfading, pops, clicks, little 60 cycle hums, hiss, rattles, drum sticks hitting mics, plosives in vocals, fans, motors, pick up hums, guitar effects artifacts...and anything else that should not be on the track. If I can't fix it, it's up to me to alert the mix engineer so he can fix it. So there are way more things that go with this job than people know about. This, in my opinion, is what makes a great mastering engineer. Someone you can trust with your life that you know will have your back. When it passes his/her tests, you know it's right.
 
I have some of the toughest clients of all time. Well, they aren't so tough anymore because they don't need to be. They ran me through the ringer at first. Once I gained their trust and they saw I was in it to win it and not just for a paycheck, everything changed. They drop stuff to me now without even checking me. That means a lot to have gained that much trust. In turn, I have to be even more careful because NOW I REALLY have to deliver the goods.
 
I'm telling you all this because if you really want to win someone over, these are the qualities that can do it. So if you really want to help this studio, do it so good, it's like having a good intern. I had an intern that was so good in my studio (he was studying to be a nurse) when he was leaving I offered him a job paying him more money than he would make as a nurse in his first 4 years of nursing. Needless to say, he took my job and is still going through nursing school. He was so incredible I couldn't think of my business without him being a part of it. So...when you do something brother, go all out and do it right. You never know where it may land you. :) Good luck mix!
 
-Danny

And now ladies and gentlemen the really good news:
 
http://www.slate.com/blogs/future_tense/2014/01/06/vinyl_lp_sales_hit_22_year_record_in_2013_digital_music_sales_down_chart.html

bitflipper
The standard formula for on-line mastering services:
 
1. Use a picture of somebody else's studio.
2. Build a slick web page with animations and made-up testimonials.
3. List equipment you've read about on the Gearslutz mastering forum.
4. Use terms such as "competitive sound" (which has superseded the obsolete "radio-ready").
5. Include audio samples where the original is at -20dB RMS and the "mastered" version is at -6dB with gobs of bass. They should preferably be hip-hop and EDM examples, to attract a young (read:gullible) clientele. It also helps if every word ending in the letter "s" ends in "z" instead.
6. Offer to return files in 320kb/s MP3 format, so they'll know you're a pro.

LOL... that is the formula for any upstart company (sans industry specific comments). So many company web sites have content that is not theirs at all.
 
But on a serious note... everyone has to start somewhere, and from there you learn. If something is where your passion lies, then pursue it and learn anything and everything you can along the way.

Danny (and others...)   Thanks for your lengthy post.  Lots of good, reassuring comments.  I do believe the technology to do stuff in the box is getting so good, but will always struggle with the rep that it can NEVER be as good as hardware.  If the Manley plug is even 98% of the hardware, that's pretty darn close.
 
I also like the comment that what I may think is an improvement, is just my opinion and not reflect at all what the artist or others may think.  Sometimes that's a road block to get over and convince yourself!

"You don't need million dollar setups to do mastering. Just some great knowledge and common sense..."
whoa, Jeff, you had to go and ruin it for everyone, didn't you?

Jeff Evans
I don't think the rise in sales in vinyl has much to do with the sound of vinyl. I think it is more to do with nostalgic reasons.

I of course have no facts, but I got the impression that there has been in increase of people that prefer the sound of vinyl, and that's why it is on the rise.  I mean from ipod MP3 playback.. what directions are really left for sound quality (i.e. better or worse!!).  But, I also think another large part of it, to my understanding is that there is this whole new generation of listeners that's never really delved into the music before the "disco era" and is showing an interest beyond just tuning to the local classic rock station.  I don't think it's just Dad getting his turntable out from the garage.

rontarrant
 it'll open up a dialog faster than the "I can fix your stuff for you" approach.
 
 

no...you're not nuts, but the above, extracted from your post sinks in good.  That's something to think about and tread carefully.  I like the first part of the idea, and just skip the reference song to compare to.

mike_mccue
And now ladies and gentlemen the really good news:
http://www.slate.com/blogs/future_tense/2014/01/06/vinyl_lp_sales_hit_22_year_record_in_2013_digital_music_sales_down_chart.html

That IS good news!