Okay I had 2 threads running that somehow got all twisted, combined, and taken WAY off course. Let me restate in simple language what the intent was.

Scenario one.

I pick a style, I create a song. I use those 5-6 tracks to make my song work, adding vocals along the way. Then I say "Hey, I think some organ would sound good here." So I go to the next empty track, choose "generate real track", and pick some organ sound. When I generate that track, it is WAY WAY quieter than the ones RB originally created. So my question was "Does the level of the master volume slider, the on the is above the tracks, to the right center, and moves horizontally, have anything to do with the level at which that additional track is created?"

Scenario two.

I have done all of the above, and in most cases for songs I do, I have made gain changes on almost all the real tracks so they almost fill the track but never touch the top or bottom. I want the tracks as hot as they can be without clipping so I can mix DOWN. I would rather have headroom and remove than run out of room to boost.

The original question was not at all about volume, amplitude, level.... it was about how to best use compression and reverb and what "mastering" actually is. I got several great answers that all made sense yet somehow slightly contradicted each other. I find that everyone has "their" special tools that are "the best" (the BEST, Jerry!). And after digesting all of that input, and doing a good deal of reading that was suggested in the thread, I still don't know any better than when I started how to polish the turd.

So maybe I need to ask more specific questions for specific conditions.

My mixes sound nice and bright when I mix down in my studio room. I save to wav, then using Adobe Audition I make them MP3s, one at 320, another at 128 (and if you ever looked at my stuff they all have (hi) or (lo) in the title), take them out to the car and they sound dead, lifeless and drab. No color, all the crispness of the high end is gone.... even when the MP3s sounded fine in the studio. They sound so alive and perky in the studio. In the car, blah.....

So to fix that, do I need to add high end EQ, remove low end EQ, compress, limit, spin, dry, collate, staple, lather-rinse-repeat......? Do I manipulate all the tracks the same? Do the drums get different treatment than the vocals, and the guitar, and the bass? If I EQ the whole thing to find more "snap" on the snare drum, isn't that going to change every other instrument?

I have different EQ and reverb presets for my vocals, drums bass, and instruments other than bass, so I do EQ and apply reverb differently depending on the track content. I don't use compression/limiting at all because I don't know what I am doing and I do more harm than good when I try. That just seemed logical to know that a voice is different from a drum and both are different from a bass guitar, etc.... that thought process may be 180 degrees out of phase. And I do know that from other forum poster's input I can get better, bit I need training if I want to get BETTER. I am just looking for a starting point.

I got the demo of Izotope as someone suggested. Read the help documents for an hour while experimenting. It sounded worse when I finished. FYI, that was in Sonar, as I could not get it to load as a plug-in for RB. Those settings in Izotope made NO sense to me with the cute names they give them. And honestly, since this is a hobby for me, I don't have hours to sit there and play with those presets to figure out what is what. I can't quit my job to play around in the studio writing and producing songs so 25 people can hear them. I'd just like to get a little better so the stuff is presentable. One good thing I DID recently start doing is taking notes (pictures actually) when something sounds right. I guess that's a start.

These threads have really been awesome for the amount of thought and information. I just thought maybe it was time to post fresh and refocus.