I understand, thank you very much for the info and links ! 
Anyway i still have a question, sorry to bother you, but if i lower all volumes so peaks are around -10db... My master will need even biggert amount of mix limiting to hit the actual loudness war standards. You see what i mean ?
If you really need to boost your output to match the (outgoing) loudness war, I'd recommend treating that as a separate process, after you've printed your mix.
Much level love to Sam and MonkeyMan - right on, guys! 
@J-War: As Sam says, forget the loudness wars until you are absolutely done with recording, and with mixing. It's a mastering thing.
But really consider whether you need to "compete" (by the way, the competition is kind of stupid at this point, since a lot of streaming services loudness-normalize stuff, making the louder songs QUIETER and less impactful).
Regarding the -10 dB guitar tracks in relation to other tracks, etc: Yeah, turn DOWN THE OTHER TRACKS to get the balance instead.
And turn up your MONITORS (or headphones, whatever you use) on your audio interface instead - that's what the knob is for
But really consider whether you need to "compete" (by the way, the competition is kind of stupid at this point, since a lot of streaming services loudness-normalize stuff, making the louder songs QUIETER and less impactful)
Yes! According to Hugh Robjohns of Sound On Sound, iTunes Music and Spotify level their tracks to between -14 and -16 LUFS (measured according to the R128 loudness specifications), so your regular "loudness wars" masters will indeed seem quieter, more squashed, lifeless and carry less impact compared to tracks mixed with a healthy dynamic range and headroom on those streaming platforms. Indeed, iTunes Plus and Mastered for iTunes require a headroom of at least 6 dB, if I recall correctly. Your typical Soundcloud and YouTube conversion will also suffer due to inter sample peaks that exceed 0 dBFS, as so many hard-clipped and normalised loudness wars masters do. The only way to be truly sure to keep the best quality throughout is to employ the use of a true peak meter and leave a healthy amount of headroom.
but if i lower all volumes so peaks are around -10db..
I usually have -18 to -23 dB otherwise I have some crisp noise with clean sounds or overload at FOH-Input.
It depends also from the whole chain of Volume-controls.
The indication dB is not the physical measure unit dB.
Ok guys, thanks again for all the advices 
Yes! According to Hugh Robjohns of Sound On Sound, iTunes Music and Spotify level their tracks to between -14 and -16 LUFS (measured according to the R128 loudness specifications), so your regular "loudness wars" masters will indeed seem quieter, more squashed, lifeless and carry less impact compared to tracks mixed with a healthy dynamic range and headroom on those streaming platforms. Indeed, iTunes Plus and Mastered for iTunes require a headroom of at least 6 dB, if I recall correctly. Your typical Soundcloud and YouTube conversion will also suffer due to inter sample peaks that exceed 0 dBFS, as so many hard-clipped and normalised loudness wars masters do. The only way to be truly sure to keep the best quality throughout is to employ the use of a true peak meter and leave a healthy amount of headroom.
Right on, Sammy!
Funny that this has always been the case with FM radio where mixes that are allowed to breathe survive the (7-band?) slamming process only to come up trumps when compared to heavily-limited submissions.
Now that Apple, Google et al appear to be setting a trend to further squash our beloved work, it could, IMHO, ironically be the best thing that's happened to mixing (the loudness war in particular) in ages. I mean, nobody seemed to "get it" when FM radio prevailed as the largest source of non-purchased listening, but now that the intra-webs are jumping onboard the compression train, I'm guessing the "masses" will finally choose the better mixes over the slammed ones, albeit without a clue as to why.
