MASTERING FOR STREAMING IN 2020!

[@thiagopinheiromusic]

the reason for -1dB headroom is because it may clip after being converted to the codec of platform and avoids intersample peaks

[@klontjespap]

1.5 db for mp3

[@embers8652]

I guess my question is why they cant analyze the volume first then convert.

[@AboveEmAllProduction]

@@klontjespap every mp3 I've ever looked at does not have any headroom. Have you found one or why do you say 1.5db of headroom since literally noone does that, can't find a single mp3 that has it. So if you do that then your track is just gonna be 1.5db lower than literally anything else in your library

[@Tiban]

AboveEmAllProduction that’s why the headroom is necessary, the conversion literally eats it up

[@AboveEmAllProduction]

@@Tiban no , not really, it does eat up alot of it, but not 1.5db. and if you already used True peak limiting in the mastering chain, theres only ever about 0.5 - 0.9db extra created from the mp3 conversion. and if you look at your local mp3s; most of them seem to go way over 0dbfs; thats why my point is valid too - your master WILL be quieter if you use true peak limiting ASWELL as -1.5db of headroom.

[@erikduijs2723]

"Loudness" (amount of compression and saturation etc) should just be an artistic choice. I'm glad it moved in that direction instead of just being a marketing trick.

[@klontjespap]

yet i'm hard pressed to find anything that's overcompressed

[@erikduijs2723]

@@klontjespap Oh I like compression/saturation just as much as the next guy. But I think it's clear that at a certain point in time things got really out of hand. Andrew "not only is the loudness war over, I won it" Scheps did some infamously over-compressed/saturated mixes. And I'm even a big fan of Andrew Scheps' work, but at the time he was just a little 'too good' at complying to such marketing demands. Many remasters of old albums also sadly fell prey to the loudness wars. Sure they sounded louder at lower volumes (and thus 'better' in most circumstances), but significantly worse when just really sitting down to listen to it.

[@suadcokljat1045]

11:05 Amen!😇

[@SaundiHemmo]

I have started to make -14 LUFS so KZbin won't do anything and Spotify will boost roughly 3dB. Some soft limiting and checking levels are good in Youlean, and if needed for own mp3's or so, just add compressor/limiter plugin in chain after Youlean. Also one Youlean after that to check how levels are, and bang! You can save song with -14LUFS muting last compressor, and then activate it and save louder version.

[@SaundiHemmo]

Also, when mixing tracks, use that compressor to check how it sounds after compressing so it will be good. If only mixing without compressor, it may cause trouble when doing final compression. Just check everything is good using compressor on/off.

[@SeanChristopherMcGee]

I liked what you said at 11:32 about not making different volume level versions...I had thought about it but then...only one master is sent to a distro like CD baby. Thank you for the Videos!

[@MattiaTooo]

A friend of mine uploaded a quieter track in spotify: it was really quiet (made on purpose hoping that spotify turned up the volume). That did not happen, i think spotify and other stores do NOT turn up volumes. just down

[@maus3454]

That is also what they told me

[@muhammadarifjaya4542]

I knew KZbin do this, just trying it out of curiosity a couple months ago

[@jorgepeterbarton]

I think this is quite likely true otherwise they'd need a limiter in their normaliser

[@DaVoskDocta]

Remember u can still mark "normalize" option in Spotify settings and check them again

[@michaelanderwald4179]

Make sure the option for level matching is turned on, and make sure you're not using the web client, as it doesn't even offer that option. But yeah, you can't just expect to upload a quiet master and have Spotify turn it up an limit it till it sounds as loud as everything else, because there are so many reason why one track sounds louder than another that can't be caught with a LUFS meter. The loudness wars are not over.

[@RiDM_Studio]

Great tutorial! I love the absence of bullsht around the tutorial itself! You're very straight forward and everything you say holds value to the tutorial! Thanks for that.

[@AnupamRoy]

Clear, informative and encouraging! 👍🏻

[@lucasmartorell]

can you make a video about psychoacoustics, and how to get a "perceived louder" master?

[@AEPPLE_MUSIC]

This right here. I know the answer is that the perceived loudness has to do with the mixing, but i would love this being discussed more as its something i feel a lot of people don't talk about.

[@Matheus-ly6eu]

Create headroom by taking out frequencies that aren't adding valuable information to the track. That's generally gonna be in the low-mids, in my experience - the infamous "smiley face curve". Any couple of dBs you can scoop, means a perceived increase in every other frequency you didn't scoop.

[@tired.mp3]

I recommend you watch this video: kzbin.info/www/bejne/e5q1foylprpmr9U In a streaming setting where loudness is "normalized", all songs are adjusted to have the same integrated LUFS value so they have the same perceived loudness. Outside of these platforms the songs with the higher RMS or LUFS value will be perceived as louder and you can achieve this through heavy compression and careful level mixing. In the video I recommended you can see how being slightly above the target value of a streaming platform can make a song sound more interesting than the other songs with higher LUFS value because it is more dynamic. I don't know why but to my experience, it seems songs are still being mastered to reach the -8 LUFS target (or louder) regardless of the streaming platforms loudness control. I'm no proper mixing or mastering engineer so don't take what I wrote as gospel.

[@livredesd]

The Sonnox Inflator is a great plugin for that, with a limiter can give you that feeling of louder without gaining true peak i think theres other plugin that does that (Reviver) but basically is a “saturation” technique so when you go to the mastering process you can gain even more volume.

[@gusdee4844]

@@tired.mp3 u cant have 10 mixes for each streaming service. Just one.. and no they don't normalize unless its turning it down, never up. So make sure your LUFS are hitting in the ball park of commercial music.

[@stellarshores8565]

You are 100% spot on my dude. I used to be OBSESSED with being as loud as other people in my field and TBH it made the finishing process for every song a NIGHTMARE. I would export 10,0000 times making tweaks and this and that. Now I just make it, master it, export it and boom. So much more simple.

[@flowerbabee]

this is exactly how i am right now. did you just fix it by following his steps in this video?

[@ldbpuch4306]

10:20 I think they want the tracks to be -1db at peak is because when the file gets compressed to a codec it gets a little louder and so it doesn’t go over 0db

[@jorgepeterbarton]

Yup I've had tracks peak when converting to mp3 from 0.3 db true peak

[@SakariKaripuro]

yeah, it's unpacking the mp3 before it goes to DAC. sometimes you can get close to 2db gain from decoding mp3 to pcm.

[@ProsonicProduction]

Great Video, really appreciate you demonstrating the importance of digital mastering to us (Engineers/Producers) 👍💯

[@JohnnyStreamz]

Sounds to me like loudness wars are over and streaming services and the consumer won. As it should be. Dynamics for the win. 💯

[@TheMirolab]

NO!!! They are not over until record companies stop the madness. Most new music that I buy is still ridiculously loud. It will take time for the companies and THE ARTISTS to figure it out. Unfortunately, this may take YEARS....

[@rensdejonge3]

@@TheMirolab This is because, very often, A&R people are not gain compensating when they are reviewing music, as well as many other people with a say in the big money music company chains. Many of them don't know and don't care about this quality concern and let themselves be fooled by loudness.

[@cyootlabs]

@@TheMirolab Yeah the artists not understanding audio at a deeper level will be the problem.

[@budgetguitarist]

Mastering is such a misunderstood art. Great video as always - thanks!

[@GrumpyGr3g]

Hi there, I come with a question I asked myself today. We all know about loudness for streaming like youtube, spotify, etc etc… But what about KZbin, Twitch "live streaming" services ? What volume are they streaming ? Can't find any answer even on supports. Was wondering if that also could be something to take in mind during mastering as there are more and more dj live streamings during this period. Cheers everyone, and thanks White Sea for your videos, always a good moment to watch ! Greetings, Gregory.

[@timocarliermusic]

Great video!

[@finnchapman2631]

Haven't tried this myself, but you can have a louder chorus/drop if you turn down every other section by a few dB as the overall average loudness is less

[@brennenwilliams9560]

Sounds almost top down

[@Yardehardedar]

Your hair has a lot of dynamic range. I will give you a plus.

[@adl0815]

Needs some clipping in my opinion. 😂

[@Yardehardedar]

@@adl0815 should give it some color though

[@DonClassico]

you guys aren't serious LMAO

[@newguy6935]

Glad you put this video out. I've never understood why so many people master to -8 Lufs, when it's just going to get turned down anyway. As far as mastering for different streaming sites, I don't that either. I usually just make one file that meets the requirements of two different sites. That is, I master for the highest lufs (-12 lufs required by (I can't remember who)) and for a true peak of -1.5 (from Spotify, I believe). Mastering a file that meets the requirements from the different sites ensures you won't have any trouble no matter where you send it. The only caveat in this is that I believe some sites require a smaller dynamic range.

[@analogdreamertheproducer4850]

I talked once with an old Mastering engineer , he said that literally the streaming service are going to trun the fader down or up to much their levels, but in extreme loudness its gonna get compressed.. great video my friend

[@StenIsaksson]

On TV there is a lot of times when the volume of the TV show is very low. Because of that you bump up the volume. When the commercial comes on it has normal volume. Because you increased the volume, because of the TV show, the commercial is now super loud.

[@kutchutozov]

Damn! So relevant and so to the point I really hope it comes across for everyone else. For me, you really helped to see it all a bit more clearly. I'm mostly self taught as an engineer thru necessity (which sounds stupid when I say it, but all engineering is equations mostly combined with a little trial and error) ... So as a musician / producer / composer (/engineer) this is more helpful than even you know lol ... You make me feel a little more sane in a crazy world of consumer driven "MORE" culture ... Things that are quiet actually make us listen more, because we have to. Creative use of dynamics are the "secret sauce" a lot of us producers and artists seem to miss for the first few years. If the only good thing to come out of the streaming revolution is the end of the loudness wars then maybe it was worth it ..... Maybe? Thanks again for another razor sharp upload my brother in loudness lmao

[@kutchutozov]

ps i wish we could all JUST master "commercial" music to around -14 LUFS regardless of CD's and P.A. systems with too much headroom (ironically because of inconsistent mastering levels and buzzing DJ's in their twilight years with blown out eardrums lol)..

[@DihelsonMendonca]

By watching this video, I´m really happy to see that there´s still a "hope" for this new generation, and the great values and achievements we did in the past, our experience and knowledge will go on. Congratulations, just one more subscriber. Even at my age, I want to learn more and more.

[@dangerale]

Hi folks. Just to let you know the standards and algorithms for LUFS/LKFS measurement are available online. LUFS uses the k-weighted filter for it's measurements. It's a two-band filter with a low-cut on the bottom and high-shelf on the top that helps to mimic the perceived loudness curves of our ear (Fletcher-Munson curves) . The filter co-efficients are available in the Rec. ITU-R BS.1770 (page 4) paper, on MATLAB documentation, and also if you dig into the JS- on the actual Loudness Penalty website. It isn't a perfect system for measuring loudness but was made as a one-size-fits-all as it is easy and inexpensive for software and hardware engineers to implement into their tools. I've had clients which try to get me to 'trick' it and there isn't really a way to do it without destroying a perfectly good mix- either by boosting loads of bass or keeping high frequencies to a minimum.

[@Marcelrocha884]

Thanks for the clarification! With the danger of being off-topic, one question. I bought some tracks from Beatport. I measured them using Youlean and some of them were peaking até +3!!! How come this happen? Why they do it? I can't hear distortion! Why?

[@ultralooter]

What about the perceived loudness? Shouldn’t I be mastering at -6/-9 LUFS?

[@deejayruddytvdjrtv3066]

Does Ozone 9 master assistant streaming configuration works well ???

[@justrichardcarter]

One thing that gets me annoyed is that, yes, we can master towards being close to the streaming standards, BUT, try turning of the loudness standardising on the Spotify desktop app and listen to something like God's Plan vs a track uploaded to streaming standards (my track Richard Carter - Blow Up, was mastered around -13luffs). His track is way louder without the control, so it seems like big studios don't actually care?

[@Mixedbyjojo355]

For all newbies that get caught by numbers : try to understand the loudness perception before loudness algorithms! An orchestral piece playing smoothly won’t sound the same as heavy low end trap beat even when they both read -14 lufs (standart for many streaming services) so, master your music as loud as it allows you to do so without sacrificing dynamics and tonality! Happy mixing

[@amonterrosomusic]

This was great!! Thanks so much.

[@aro_uk]

love this....so are the loudness wars over ?

[@philipplarkie6715]

What when you go in the settings (Spotify etc.)and turn off the loudness optimizations?

[@newmachine00]

they do close to nothing. Like the youtube extensions that exists in chrome, you have the normalization box, but youtube spotify etc do process everything so poorly that even on premium spotify/deezer or youtube, enabled or disabled, they don't seem to normalize things well, they only exist, i have test all of them and that's because all this thing is nonsense (maybe in 2030 when we have better normalization OnTheFly technology will youtube be better soundwise).

[@marcelbr815]

I would like to see more on it!

[@electriclaz]

Very sensible! I'm still amazed at how some masters feel louder than others even when the Lufs read the ame. I guess THAT'S where the real skill of engineering is...

[@syndice]

Honestly it's magic I'm trying to figure out right now ;-;

[@MikaKotikoski]

Ok... Correct me please, If I get this wrong... According to my understanding the human ear hears loudness mostly via the average volume encountered. Above is the reason why a more compressed file always sounds louder in comparison to the less compressed one ie. a track by -10 LUFS with 8dB dynamic range sounds louder than a track by -10 LUFS with 15 dB dynamic range. Right? So to achieve loud results in comparison with the rest of the bunch means that the quieter parts should sound louder in comparison to the peaks ie. compression should be used... Naturally in a way that it doesn’t make the sound all too flat. Getting the very last part (compressed, but not flat) from the above is the true skill of a mixing (and in some cases the mastering) engineer. Right?

[@HellKey]

Nice video and good tips those you share. With all the due respect, there are few things I don't agree with: 1) some streaming platform (for ex. Spotify) have the option to disable the normalization. I think that in a short time almost all platforms will make it as an option so that no genre of music will be penalized. 2) I would prefer to master my track without thinking about streaming platforms. I make dubstep and the modern songs have loudness like -1 LUFS and peaks up to +5dB. I prefere that my track is penalized by KZbin and not by a live gig. The risk of "yawning audience" at a dubstep concert is really too scary. 3) if music is still art, it's the artist that decide, not a streaming platform. People can download the mp3 version and listen to utra loud music. But if we start to master according to Spotify, make them shorter and fast hooking for Tik Tok, and so on... I think we lost the meaning of music. This is just an exchange of opinions, I totally respect your point of view, so please, don't consider this as an attack!

[@AnthonyHuttley]

Super informative. Thank you! This helps me a *lot*.

[@edmx]

Thanks for this. Are you doing one version for streaming and a louder one for downloads?

[@lauriran]

But why wouldn't you use the more dynamic version at the festivals too?

[@ChaceBonanno]

So when you master above -14 LUFS to try to make it louder, likely with a limiter/maximizer/clipper, then you’re really just squashing the dynamic range, because it’s ultimately gonna get turned down anyways. I think rather than focusing on the loudness, or LUFS, you should focus on dynamic range, and just how it sounds/feels. If anything, aim for -14 so that the normalization doesn’t affect it. What are your thoughts?

[@a-job7276]

Hello, are K-meters no longer used? It is the standard that Bob Katz created. There are quite a few meters, like the Vozengo Span and mzuther K-Meter, that have this scale, K12, K14, and K20. It makes me very similar to using VU-meter, where it has a knob to calibrate the 0dB VU. Do you know the HoRNet plugins? Normalizer, VU-meter, LU-meter, all with automatic gain to speed up the "Gain-Stage". And CLMS to avoid "the disappointment of loudness". Very useful and cheap. The "Track Coherence" plugin measures the "Crest factor". Same as "TT Dynamic Range Meter" and many others, but I don't know which is more "accurate". Any suggestion?

[@konpsymusic]

why is Spotify asking everyone to master at -14 LUFS when all the tracks on Spotify are around 7 to 10 LUFS, also they peak above 0 DB. Could you please help here. If I upload my track to Spotify around -9db LUFS. Will they turn it down or not. Coz I don't think they turn town any of the tracks uploaded to the platform. -14 LUFS is a lie,

[@vinylmastersgr1036]

I agree with you. The majority of new songs on Spotify are extremely loud and distort awfully. New album of Billie Eilish is around -7 to -6.5 LUFS and True Peak around +2 if I don't make a mistake and it has so bad sound. It's a lie I think that Spotify normalizes to -14LUFS. Also albums of Taylor Swift from 2019 and now sound bad.I cancelled my subscription on Spotify, also I can barely hear high frequencies in many new albums.

[@MKD371]

It is good practice to be at minus 3db peak limit to allow for aliasing avoidance issues and levelling stuff the sites do across the board, much better for them to boost the volume if needed, on your track, rather than squash it down in volume for these reasons.

[@aasmundr]

Very nice! But what about live streaming, and services like facebook?

[@allen394]

Nicely explained. Stay well.

[@itswhzly]

Thank you for always making videos and studying new topics🙏🏻

[@loopaxerecordsmusic]

The guidelines are great, thank you. At the end of the day one has to use one 's ears according to what is best for the song and depending on what material it hosts inside of it. If one is not willing to feel out how loud a collection of files should be mixed and thereafter mastered at as one file then one won't find it's sweetspot. Don't think the sweetspot is not loud enough, it is, then when mastering it's all about where you can take that sweetspot to a louder one if needed according to what processes the material can handle ect. Don't mix at mastering levels either, leave that headroom for your dynamics that will later trigger your mixbus chain and or mastering chain. The mix's headroom takes hands with what mastering chain can achieve without destroying the music. Personally I find it easy to hear good or bad pushback from any device or plugin used when making music or pushing that music upwards. I hope my attempt at commenting in a non technical way helps.

[@niklassilen4313]

Speaking of mastering: When are you going to check out Tone Projects Unisum mastering compressor plugin?

[@Keetongu23]

Another important fact that a lot of people seem to forget is that a lot of genres were born and/or thrived during the "loudness war". For example, EDM. Sure, dynamic is better in a lot of cases, but for genres like this the consumer is already used to a really limited sound, because that amount of limiting is an element of that genre I just want anyone to name 1 EDM song below -8 lufs.

[@coywood203]

awesome information! how does this apply to live streaming?

[@bernoulli1]

What is the name of the song and artist you used as your example?

[@williampbrowniii3489]

Excellent info! Thank you for such a clear explanation on this topic!

[@OneandOthermusic]

Excellent vid, looking at most of the angles... Its funny when I went back to some of my historically favorite tracks over the years and started looking at them as reference tracks, I found that the ones that were more dynamic and well saturated with a nice central density always sounded better to me than the ultra loud ,peaks flattened out, solid block of sound like frequency dynamic. When i started mastering tracks more for my own ears rather than like trying to compete with some sort of quest for the loudness gold... mind you there is nothing wrong with that either... its about preference I guess... but no matter anymore if we host on these sites , they get the last hands on it...

[@akashshravan_]

How did you bring a small EQ display on the track?

[@dombernardo9738]

I heard that I have to send a track to Spotfy at -1db peak. That means my last brickwall limiter should have a -1db celling? I always use a celling of -0,3 dB. Please, I would love to understand that.

[@nvp-music]

How about beatport?

[@songworxsydney]

Please use a Spotify ripper program and compare your actual master to the version of your master ripped from Spotify.... come on !! you're the guy to do this.

[@RodrigoroRex]

You can't rip off Spotify, it's all encrypted

[@songworxsydney]

@@RodrigoroRex there’s ripping methods , someone ripped my tracks off Spotify for me to compare to my own masters. The Spotify versions held up well sonically but were all 7-9db lower in volume than what I had uploaded. Loudness wars over for sure.

[@mrovi789]

I do insert Ozone 9 into OBS, job done!

[@prodigalretrod]

it can get the itunes figure quite wrong sometimes, eg I compare a quieter file to a louder one, and the quieter one has MORE of a loudness penalty for itunes.

[@DaRoca257]

I am pretty sure that spotify is still not measuring in LUFS but in replaygain which is really a problem. Also they claim to turn up the volume with a compressor wich is mostly not good as well.

[@heavymetalmixer91]

Something people also need to understand: DON'T master to specific numbers either. Not only you're not focusing on delivering the best sounding master you can, but also the platforms algorythms are constantly changing, so an "optimized master" today, won't be optimized tomorrow. Btw dude, remember the -1dB mentioned by the online platforms is not the dB we commonly know, but the True Peak/Inter Sample Peak, which is often higher than the common dB. The rule is "never go above -1dB True Peak" written as -1dBTP.

[@feracedomusica]

I like this and all the videos!!!!

[@lindsaywebb1904]

Why would you make a loud version for CD?

[@bentapia]

Men, you can sound louder with presence, boosting 3k - 6k with control. I heard song bad mixed in spotify boosting 10k-12k and sound quieter. Using normalizer of spotify.

[@paullordy4064]

I have been watching you since long. Will you be kind enough to show us your way of a detailed software mastering version. I mean how do you approach a song if you dont have any hardwares around you.

[@AboveEmAllProduction]

There is more to it than this because there is still a great deal of loudness differences within any single streaming service. So they don't seem to normalize or limit in the way we may think. There is some unknown variable we don't know yet?

[@TheGurner1]

Great explanation, very useful to know

[@dbhammond]

4:18 This version sounds so much better, more "3-D" than the squashed version. I would buy a copy of the dynamic one whereas I'd ignore the squashed one because it has "that sound" that is in so many pop tracks. The dynamic version has a lot more depth.

[@ReverendGuyWallis]

great video as usual, man. keep up the good work :)

[@dandearman2871]

Even with all of this loudness compensation going on I still think (it sounds to me) they are running the loudness of the commercials higher than the program content. Just like the volume of the commercial in this video, I turned the volume down because of how loud it was and back up after the commercial. Is this actually happening or is it just me? Have you ever tried measuring the difference?

[@syndice]

Spotify are running ads louder and its like the most irritating thing in the world.

[@garethknott5915]

about time more dynamic range for us that care about things sound good great vid

[@lucaszlf2491]

Great video as always man ! Still you talked about low dynamic music for festivals club etc.. and high dynamic for streaming services, but why is that ?

[@mrfleamino9350]

Thank you

[@oriangel7317]

What about soundcloud?

[@Engineeer]

Question 1: I am using the free Youlean loudness meter and not Loudness Penalty. So, I go primary by LUFS. What is the LUFS value you are aiming for when mastering? Question 2: When the services adjust the volume of the tracks anyways, shouldn't the true peak be irrelevant as long it is not clipping?

[@swschilke]

Wasn't the broadcast LUFS -23 and -16 for podcasts (you wanted to do something --> AMA). KZbin is awful mastering/controling loudness on the audio of videos, every video has a different volume. Could you show how to bring a track to the right loudness level?

[@diamentoni4895]

Do you know that loudness normalisation doesnt work on every device? Like spotify web player for example.

[@thomass.9042]

Yes and most of the smart speakers like Amazon Echo or Google Home also don't do any loudness normalisation when streaming music with Spotify and others. Sad, but important to know....

[@daigengtr6806]

For some reason the loudness penalty doesn't work for me whatever bit rate I render for, any idea?

[@dohnaludin]

thankfully.

[@matthewdeward1984]

ozone and a few Mastering chains include Lufs, I thought it was pronounced LOOFS lololol, i appreciate the correction.

[@mekullag]

Matthew DeWard not sure he‘s an authority on pronounciation 😅

[@ffjaron]

Mekullag 😂😂😂lmao

[@matthewdeward1984]

@@mekullag lol thanks well still way back when I first encountered Lufs, I thought perhaps it was a German measurement as it seemed more accurate?? ( i know thats bad right just assuming) so Ive always said it kind of with that German/Russian l-U-f extra emphases on the U :)

[@10max30]

How much loudness should a mix have for an appropriate mastering?

[@thorpe8138]

Do more videos mixing and mastering tracks from stems.

[@tomallonsmusicalcreation1111]

Can u explain how to master a track for streaming ...?

[@mattkorr]

One problem is that KZbin Music premium service doesn't compensate for volume. All tracks are at original volume. It's one of the reasons I use the service but it still makes you think about the loudness more than if it was a truly universal practice.

[@minwang8648]

Great video. When using distribution platforms like Distrokid, TuneCore, CDBaby, etc), has anyone found a way to upload both a more dynamic/quieter master for streaming services and a loud master for online mp3 purchases to be played as a file on dj equipment, etc?

[@BlackenedNL]

5:20 PREACCHHHH!!

[@thomasstone1363]

Excellent video, thank you

[@vinnowater]

Something that really messes with my nerves is that there is no accurate tool measure that accurately, so they don’t even have to touch the volume at all... I would love it if streaming platforms made it more transparent.

[@michaelacostantini]

I was never a fan of the brick wall limiting of the 2000s. I felt like music lost a bit of breathing. I am happy to see dynamic range has returned.

[@mcsstudios101]

at 4:20 i prefer the the track with room on the left. I would never send out a track that looks like the one on the right. I can hear the track on the right just compressed way to much it actually sounds bad to me in depth. I commented a few years back about platforms controlling track volume. I have tracks on KZbin... that i noticed volume changes. distorted at one point. Really sucks to not be able to control our own volumes.

[@kmfritz2000]

Thank you - found this very helpful.

[@tristan7218]

could you make a review or tell your opinions on Maximus by Image Line? I use it as often as the fabfilter suit, would like to know what you think of it. It was made available as a VST a while ago, originally it was a native FLstudio plugin (as well as a built-in effect on other native plugins). It's a 3 Band Compressor/Expander/Gate/Waveshaper/Dynamics inverter / idk.. I use it as a sound design tool, but it's supposed to be a mastering tool.

[@saardean4481]

Do you mention how many Lufs your "one master for everything" is in the video? If yes i missed it

[@mattiaderiu2028]

Great i thought the same. I have a question: if you have a loud track to upload, is ok to left it as it is if you can't modify it for any reason?? in fact streaming services would simply turn down the volume instead of limiting it. When it comes too quiet they probably would touch it and this isn't any good!

[@clolo4615]

Does spottily use spectral compression expanding or Dynamic eqs ?

[@lengout2535]

I think you meant 1 -dB True Peak instead of dBFS. -1dBFS could in theory still clip when converted to a lossy format.

[@ChristianBoragine]

Dynameter is super useful for this kind of metering

[@muddymarshall6072]

what about an acoustic album that is perfectly mixed, but is too quiet to be uploaded to streaming. will the "Loudness Normalization" make it louder?

[@Rolanoid]

Currently Spotify mastering spec is -2db true peak if the track is louder than -14 LUFS and -1db true peak if below -14 LUFS.

[@EvansAudio]

NICE VIDEO THANKS