Saturation can unintentionally increase loudness
Problem: mix lacks loudness or impact
When saturation is applied heavily across the mix, it can lead to an increase in perceived loudness. This is not always intentional and can be a side effect of the saturation process. This technique is more common in…
Aim for -8 LUFS with controlled gain reduction
Problem: track too quiet or too loud
Setting your track to around -8 LUFS ensures it's loud enough to compete with commercial releases without sacrificing dynamic range. Using a limiter with 7 dB of gain and a clipper to reduce peak levels helps achieve…
Use a limiter like the Pro L2 at the end of your mastering chain
Problem: insufficient loudness or distortion
A limiter like the Pro L2 should be the final plugin in your mastering chain. It helps increase the overall loudness of the track while preventing distortion. It's important to use a limiter to ensure that the track is…
Use saturation to increase loudness without heavy limiting
Problem: loudness achieved through limiting causes distortion
Saturation can be used on the entire mix to increase loudness and add harmonic content, reducing the need for aggressive limiting. This approach allows the track to reach high loudness levels (e.g., -4 to -5 LUFS) while…
Loudness can be a byproduct of saturation and compression
Problem: loudness pursued for its own sake leads to poor sound quality
Loudness does not always have to be the primary goal of a mix. In the Foo Fighters track, loudness is a byproduct of heavy saturation and compression, which contribute to the aggressive and in-your-face feel. This…
Avoid over-limiting to prevent unpleasant distortion
Problem: over-limiting causes distortion and loss of dynamics
Over-limiting can lead to unpleasant distortion and a loss of dynamic range, making the track sound lifeless and fatiguing. This is evident in the comparison with the Death Magnetic track, which sounds heavily limited…
Avoid over-aggressive loudness processing that leads to clipping and harshness
Problem: clipping and harshness from over-processing for loudness
The Foo Fighters track has a pleasing analog saturation character, while other albums (like Death Magnetic) sound clipped and harsh due to over-processing for loudness. This shows that aggressive loudness processing can…
Loudness can be a side benefit of aggressive production, not the primary goal
Problem: loudness pursued at the expense of dynamics and clarity
The Foo Fighters track is loud, but the loudness is a result of the aggressive, in-your-face production style rather than a deliberate attempt to maximize loudness. This approach maintains sonic quality and artistic…
Mindset: Mastering's goal is emotional impact, not loudness
Stefan emphasizes that mastering should enhance a song's emotional resonance and make it 'shine' for listeners. This contrasts with the outdated 'loudness war' mindset, prioritizing artistic expression over technical…
Avoid fixating on LUFs during mastering
Problem: Over-optimization for loudness metrics
Mastering should focus on making the track sound full and powerful in context, not on hitting specific loudness targets. Relying on LUF numbers can be misleading because different genres and tracks have varying dynamic…
Loudness varies by genre and track content
Problem: Mismatched loudness expectations across genres
Loudness targets (LUFs) are not universal. A metal track with heavy distortion might naturally sit at -12 LUFS, while an acoustic track with dynamic range could be at -6 LUFS. Forcing a track into a specific LUF range…
L-UFS is a loudness standard, not a target — aim for quality
Problem: misunderstanding L-UFS as a mandatory target
The L-UFS (Loudness Unit Relative to Full Scale) is a standard for measuring loudness, but it's not a target to hit. Spotify normalizes all tracks to -14 L-UFS regardless of the original loudness. Focus on making the…
Adjust limiter output to fix true peak overages
Problem: true peak distortion on streaming
True peak max exceeding 0dB can cause distortion on streaming platforms. In Pro L, reducing the limiter's output knob to -0.1dB ensures compliance without sacrificing loudness. This is a common fix in mastering to…
Use metering plugins to monitor levels, frequency spectrum, and phase
Problem: inconsistent loudness, poor frequency balance
Metering plugins are crucial for checking loudness (LUFS), peak levels, frequency balance, and phase coherence. They provide visual feedback to ensure the mix adheres to industry standards and maintains clarity.…
Use VU meter as a reference for bass loudness
Problem: overcompressed bass, loss of kick definition
Allowing the bass to push the VU meter slightly (up to 0dB) is acceptable in bass-heavy genres, but excessive levels can mask the kick. This approach ensures the bass remains present without overwhelming the mix. The…
Concept: Balance between peak and average loudness
Using both dBFS (peak) and VU (average) meters ensures a mix that's dynamically safe (no clipping) while maintaining perceived loudness. Peaks are controlled for headroom, while average levels ensure the track feels…
Use limiter stress test to check for distortion
Problem: distortion, pumping, or loss of dynamics
Apply a limiter to the stereo output and raise gain until the mix reaches -9 to -11 LUFS. Monitor for distortion, pumping, or loss of punch. If issues arise, reduce levels or refine processing. This test ensures the mix…
Use a limiter after establishing foundation levels
Problem: overloading the limiter, poor loudness control
The limiter should be applied only after balancing levels and creating headroom. This ensures the limiter isn't overworked and can shape the final loudness without compromising dynamics. The speaker mentions this as a…
Set kick peak level to -5dB for VU balance
Problem: inconsistent VU levels, over-compressed kick
After adjusting the transient shaper, the speaker achieves a peak level of -5dB on the kick while maintaining 0 VU average. This creates a balanced dynamic range that allows the kick to sit cleanly in the mix without…
Adjust output gain post-compression to control peak levels
Problem: Over-compression, excessive peak levels
After applying compression, reduce output gain to maintain desired peak levels (e.g., -5 LUFS). This prevents over-compression while preserving the compressor's dynamic shaping. The speaker demonstrates this by lowering…
Set loudness target between -9 and -11 LUFS
Problem: inconsistent loudness, poor mastering
The speaker adjusts the limiter's target to -10.5 LUFS (between -9 and -11) to achieve a balanced loudness. This range ensures the track is competitive with commercial releases without introducing distortion. The process…
Monitor loudness continuously during mastering
Problem: over-limiting, poor dynamic control
The speaker references the loudness meter ('short term loss') multiple times to ensure the track stays within the target range. This iterative checking prevents over-limiting and maintains dynamic integrity. The process…
Set VU meter to -18 dB and peak level to -5 dBFS
Problem: inconsistent loudness and clipping
Use a calibrated VU meter (set to -18 dB) alongside a peak meter targeting -5 dBFS. This ensures proper gain-staging and headroom while maintaining loudness. The VU meter reflects average levels (RMS), while the peak…
Use into sample peaking instead of Truepeak limiting for louder Spotify playback
Problem: tracks too quiet on streaming platforms
Spotify's loudness normalization algorithm prioritizes into sample peaking over Truepeak measurements. By avoiding Truepeak limiting, tracks can achieve higher perceived loudness on streaming platforms without triggering…
Avoid over-limiting to -0.5 Truepeak as reference tracks don't use it
Problem: unnecessary Truepeak limiting
The speaker notes that commercial reference tracks don't limit to -0.5 Truepeak, suggesting this is an unnecessary constraint. Over-limiting to Truepeak can reduce headroom and negatively impact sound quality. Instead,…
Check reference tracks frequently to avoid over-cooking low end
Problem: overcooked low end, poor loudness comparison
The speaker demonstrates how relying on room monitors can lead to excessive low-end levels. By comparing to a reference track using a metering tool, they identify their mix is 1dB higher in the low end than professional…
Use loudness meters to target -9 to -11 LUFS short-term range
Problem: inconsistent loudness, poor mastering prep
The speaker sets a target of -9 to -11 LUFS for short-term loudness, noting they're already at -8. This aligns with industry standards for competitive loudness while retaining punch. The audible result is a mix that…
Avoid over-amplifying loud tracks without proper gain staging
Problem: clipping, distortion from improper gain
When tracks are already loud, simply turning them up further can lead to clipping and distortion. Instead, focus on gain staging to ensure optimal levels before applying any processing. This is critical in mastering and…
Move limiter after initial processing for better control
Problem: over-compression from early limiting, poor loudness control
Placing the limiter later in the signal chain allows for more precise dynamic control. When the speaker initially added the limiter too early, it required excessive drive (12dB) to compensate for low levels (-10dB).…
Adjust kick level to improve overall loudness
Problem: inadequate loudness, competing dynamics
Reducing the kick's volume by 1-2dB can create headroom for the limiter to work more effectively. The speaker demonstrates this by turning down the kick, which allows the limiter to increase the overall loudness without…
Reference loudness levels during mastering
Problem: inconsistent loudness
The speaker mentions adjusting the mix to a competitive loudness level (around -7.5 LUFS). This emphasizes the importance of loudness normalization in mastering to ensure the track sits well with commercial releases.…
Use Limit One for a more open mastering sound compared to Ozone
Problem: loss of spatial clarity in mastering
The speaker notes that Limit One provides a more open and three-dimensional sound compared to Ozone, which 'folded in' the mix. This choice affects perceived loudness and spatiality, making the mastering stage feel more…
Adjust lows during mastering for balance
Problem: insufficient low-end presence
The speaker mentions boosting lows slightly during mastering to even out the frequency spectrum. This adjustment ensures the low end is present without overpowering other elements, maintaining a competitive loudness…
Use a limiter on the master bus to identify constraints in the mix
Problem: Hidden muddiness or frequency imbalances in the mix
Raising the master bus to contemporary loudness standards reveals hidden issues like muddiness or frequency imbalances. This technique helps identify the point where the mix starts to distort, exposing constraints that…
Use reference tracks in mastering chain for objective loudness comparison
Problem: inconsistent loudness vs sound quality trade-offs
The speaker uses reference tracks at both the start and end of the mastering chain to compare loudness and sound quality objectively. This helps avoid over-compression and ensures the mastered track matches commercial…
Prioritize sound quality over loudness unless client demands otherwise
Problem: over-pursuit of loudness degrading audio quality
The speaker emphasizes that louder tracks often sound worse when volume-matched due to over-compression. They advocate for pushing loudness only as far as quality allows, using AB testing with reference tracks to confirm…
Aim for -8.9 LUFS as a target loudness level
Problem: inconsistent loudness levels
The speaker uses -8.9 LUFS as a practical loudness target during mastering, achieved through compression and limiting. This value balances commercial loudness expectations with preservation of dynamic range, avoiding the…
Adjust sweep time for accurate RMS/LUFS analysis
Problem: inaccurate loudness measurements
Customizing the sweep time in the plugin's reference tab allows you to analyze how the signal behaves over different time intervals. Shorter times highlight transients, while longer times show average levels. This is…
Use a limiter for final loudness control
Problem: track too quiet or inconsistent loudness
Dax employs iZotope Pro L2 on the master bus to set the final loudness, ensuring the track meets industry standards (typically around -14 LUFS). The limiter is used sparingly to avoid pumping or distortion, maintaining…
Target -9 LUFS for mastered tracks
Problem: inconsistent loudness, poor streaming performance
The speaker mentions being at -9 LUFS as a reference point, indicating this is a common loudness target for commercial releases. Maintaining this level ensures the track is competitive on streaming platforms without…
Mistake: Not volume-matching your mix to the reference track
Problem: inaccurate loudness comparison
If your mix isn't at the same perceived loudness as the reference, your ears will normalize to the louder track. This creates a false sense of balance — you might think your kick is too loud when it's actually at the…
Set reference track loudness to -18 LU
Problem: incompatible loudness, poor mastering compatibility
Commercial tracks are typically mastered to -18 LU (loudness units) for optimal dynamic range. Matching your mix to this standard ensures accurate frequency and stereo comparisons. Deviating from this makes your mix…
Reference tracks by level-matching, not boosting your mix
Problem: inaccurate reference comparison due to loudness mismatch
Producers often boost their mix to match a reference track's loudness, which distorts the original balance. Instead, lower the reference's volume to match your mix's levels. This preserves your track's dynamics while…
Apply a limiter on the master track with 0.18dB ceiling
Problem: track too quiet or clipped
Using a limiter (e.g., FabFilter Pro L2) with a 0.18dB ceiling prevents clipping while maximizing loudness. The creator recommends using the 'Mastering' preset and setting the release to 100ms for smooth dynamics. This…
Concept: Mastering is about balance, not just loudness
Problem: overemphasis on loudness
The creator emphasizes that mastering involves fixing frequency imbalances, stereo imaging, and dynamic range, not just applying a limiter. This mental model shifts the focus from 'making it loud' to 'making it sound…
Reference a commercial track every 5 minutes
Problem: ear normalization to personal mix
Regular comparison to professional mixes prevents ear fatigue and maintains consistency. This is especially important in genres like big room house where loudness and clarity are paramount. The reference track acts as a…
Adjust reference track volume to -12dB
Problem: inaccurate reference comparison
Lowering the reference track ensures your mix isn't competing for loudness. This allows accurate evaluation of frequency balance and spatial elements without the distraction of volume differences. The technique is…
Test mix on different playback systems
Problem: inconsistent translation across systems
Checking the mix on headphones, studio monitors, and consumer speakers reveals frequency response issues. This is critical for genres like dubstep where low-end impact must translate across systems. It ensures the mix…