You typically want to put your metering plugs on the post-fader insert slots on the master. It’s actually not a bad idea to load them there - the ones you regularly use - and save them in your default startup song so they’re always there.
Considering Steinberg offers a fantastic mastering suite called WaveLab, it’s not really that weird… Mastering in Cubase is not exactly what the program was meant for, though it can be done in a somewhat limited way.
easy… try this. It’s GREAT!
http://www.multi-platinum.com/mpp/mppsm/projectstudiomastering.html
nexis
Not to be contrary, and you actually make a good point there (I thought that may be the reason also), but metering plugs aren’t just for mastering. I always keep an RMS meter, a spectrum / FFT meter, and a phase meter on the post master when mixing.
Anyway, 6.5 looks pretty cool. I wonder if I can refresh my demo.
Different folks, different methods… For me, RMS or spectrum are of no concern whatsoever during mixing. A phase meter I can see, and I use one - and the mono button ofcourse. But mastering is not just limited to sound or loudness of individual tracks, but also consistency between tracks for ‘albums’ - not to mention creating reproduceable CDs or other deliverable formats.
I have wavelab.
You can do mastering (as discussed in this thread) in Cubase all the way offcourse.
You can’t do redbook, pq editing, labeling, crosfades between tracks as easily but we are talking about maximizing the volume here. About using compressors, limiters and EQ’s.
And a lot of today’s producers want the abbility to master there tracks soundwise.
Giving a bunch of meters is not a bad choice.
If I don’t have to deliver redbook formats I indeed master in Cubase, I am so accustomed to the interface that I just work faster.
Greetz Dylan.
It’s the general context you may be missing though. We’re not talking pro mastering here, nor a collection of songs necessarily. Just maybe a random guy with a daw working on one song who may be trying to “finish” it before he publishes it on the web or whatever.
If a person hands me a song to mix, a single song, and it’s not going to a real mastering engineer… I do all that in the mix. I seriously doubt if most DAW users are actually mastering anything, just balancing out their songs (or this song they did last week with one they did last year) before they upload it to Bandcamp or something.
“Home Mastering” is a bit of an oxymoron for most people. 
The main point of mastering material done by home recordists is to get objective ears (and pro mastering talent), so what most people are doing isn’t so much mastering as it is just balancing and smashing with limiters.
Let’s be honest. The vast majority of DAW projects (for home users) are vanity / fun projects. They won’t be getting printed on 500k CD’s. I pretty much consider most of it demos.
Guys,
Thanks for all the suggestions.
I applied some of the techniques mentioned and today, I got a mastered song, closer than anything I have ever done so far. It will be a long process, but I definitely think I can improve from where I am.
Living and learning…and loving it (well, at least most of the time).
The dilemma. I need to learn to make my final mix/masters sound as loud, full and present as commercial mixes.
That takes years and full careers to achieve.
As mentioned above you really mean “finalizing” for personal projects, not commercial correct?
If not, then its probably best to learn what Bob Ludwig or Brian Gardner uses then go to the bank for a big loan, and hope for the best.
First of all consider that commercial ME’s often receive mixes from experienced mix engineers. Most mixes are already mixed hot… like -13dbRMS to -10dbRMS. Some of the best mixes I ever received were mixed years ago from Bruce Swedien and they were pretty loud. Honestly, it took very little effort to finalize those mixes. A great mix really is the key to a great master. Unfortunately the common problems I received were from more inexperienced users who abused software compressors and could not detect the adverse issues.
This is Gearslutz. People will suggest all kinds of tools, but give little advise on procedures and techniques. The problem is that there is no mastering preset. Every project requires examination on it’s own merits. There really is no “standard chain” like so many wish existed. It really depends on your audio objectives for any given project.
Most ME’s rarely use multiband compressors. Few use multiband limiters.
It’s important that you LEARN your tools and really know their limits and what they can and cant do with any given audio. That can take along time. Most ME’s sort of stick to their own tools for longer periods of time instead of being tempted to try out the latest new and improved tool.
Good luck with your endeavors. If you wish to learn more, other than Bobs book, I would suggest places like PSW where some experienced ME’s contribute.