Where Should My Master Peak?

What volume level should I mix at?

A good rule of thumb is that your volume level should be low enough to allow for conversation without raising your voice.

If you need to shout to be heard, your monitors are too loud..

How loud should your master be?

How loud should your master be? Shoot for about -23 LUFS for a mix, or -6db on an analog meter. For mastering, -14 LUFS is the best level for streaming, as it will fit the loudness targets for the majority of streaming sources. With these targets, you’re good to go!

Is LUFS the same as RMS?

LUFS meters will also tell you the integrated loudness of your audio, which is similar to RMS (root mean square) but more truthful in terms of our hearing. RMS tells you the the average power of the signal, but LUFS integrated loudness is more accurate in terms of our perception of loudness.

How loud should my song be?

2. Your music will get turned down if it’s louder than -14 LUFS. Going for a more dynamic and punchy mix will sound better than an over-compressed, distorted master. I personally like to keep my clients music no louder than around -8 short-term LUFS during the loudest part of the song when I’m mastering for Spotify.

How loud should my music be?

Experts recommend keeping sound levels at somewhere between 60 and 85 decibels to minimize the damage your ears are exposed to. If you are listening to music at around 100 decibels, restrict your usage to within 15 mins. However, these are general guidelines and listening threshold is different for each individual.

How do I get more headroom in my mix?

Here’s 7 Tips to Help You Achieve Headroom in Your MixFocus on the dominant feature of your mix first.Use Your Eyes AND Ears.Think before you automate.Louder Doesn’t Always Equal Better.Work in 24 Bit.Control your dynamics.Don’t cheat.

Is true peak important?

The True Peak level gives a useful warning, though. It was introduced as part of the R128 Loudness Unit specification, and gives a reasonable indication of when encoder clipping is likely to occur. Really loud modern masters can easily register True Peaks levels of +1 or +2 dBTP, and often as much as +3 or +4 !

Should you EQ or compress first?

Each position, EQ pre (before) or EQ post (after) compression produces a distinctly different sound, a different tonal quality and coloration. As a rule, using EQ in front of your compressor produces a warmer, rounder tone, while using EQ after your compressor produces a cleaner, clearer sound.

What dB is best for bass?

In its current incarnation, 1 minute average sound levels at the mix console are required to remain under 105 dBA and 123 dB for 25-80 Hz bass.

What should my master peak at?

A good rule of thumb is to keep steady signals such as rhythm guitars, synths or pads at somewhere between -20 and -16 dBFS, with transient peaks (such as occur from drums and percussive instruments) no higher than -6 dBFS.

How do you control true peak?

Your true peak target can be achieved with a similar approach. Though rather than adjusting the gain, we’re going to adjust the output on the limiter. If your target is -1.0dBTP (as is the recommendation for streaming services) but your track is peaking at -0.23dBTP, then you would need to reduce your output by 0.77dB.

What dB should my mix be before mastering?

I recommend mixing at -23 dB LUFS, or having your peaks be between -18dB and -3dB. This will allow the mastering engineer the opportunity to process your song, without having to resort to turning it down.

Should you normalize before mastering?

Today, with stun levels, limiters, and maximizers being standard operating procedure, there is no way a track won’t go right up to your ceiling during processing, so normalizing is a thing of the past. And you certainly don’t want to do it before sending the tracks to mastering.

Should I put a limiter on my master?

Give yourself the “rule” that you will never put a limiter on your master fader while you are still mixing and you will go far. … If you limit while you mix, you will end up fighting with the limiter. You will have a skewed idea of your dynamics, and musicality can easily be lost. This isn’t a good thing.

How much headroom should you leave for mastering?

Quick Answer. Headroom for Mastering is the amount of space (in dB) a mixing engineer will leave for a mastering engineer to properly process and alter an audio signal. Typically, leaving 3 – 6dB of headroom will be enough room for a mastering engineer to master a track.

How do I leave headroom for mastering?

The loudest part of your song (peak level) should be around -3db to -5db (below 0 level). This is considered +3db to +5db of headroom. This is the ideal amount of headroom for mastering that you want to leave.

What is a true peak?

The highest point the analog signal reaches is called the true peak while the highest digital sample is called the sample peak. Since a digital signal has to be converted to an analog signal to be heard, the true peak is a much more sensible metric for the peak level of a waveform.

What dB should kick be at?

Re: Recommended -dB of bass in relation to kick I would recommend you average your levels around -18db or so and after that, while mixing, set your levels in relation to each other rather than the meter per se.

What is proper gain staging?

Gain staging, or gain structuring, is the act of setting the gain for each amplification stage (gain stage) in a sound system to achieve a target system volume that minimizes noise and distortion. Said another way, proper gain staging allows your sound system to achieve the best signal-to-noise ratio.

How many dB is LUFS?

one dBDespite the different names, LF KS and LUFS are identical. Both terms describe the same phenomenon and just like LKFS, one unit of LUFS is equal to one dB. LKFS/LUFS are absolute measures, and depending on which broadcast standard is in use, the loudness target level could be e.g. -24 LKFS or -23 LUFS.