Mixing and Mastering Cheat Sheet

Loudness and true peak by destination

Streaming services turn loud tracks down to a reference level, so the loudness that matters depends on where the track is played. Only some of these numbers are published by the platform itself; the last column says which.

Destination	Loudness	True peak	Who says so
Spotify	-14 LUFS integrated (normalization reference, ITU 1770)	below -1 dBTP; below -2 dBTP if the master is louder than -14 LUFS	Spotify for Artists
Apple Music	No published LUFS target. Sound Check plays songs at about the same loudness; about -16 LUFS is a common working reference	at least 1 dB of headroom	Apple Digital Masters (headroom only)
YouTube	No published target. Loud uploads are turned down, quiet ones are not turned up; about -14 LUFS is a common working reference	below -1 dBTP (our recommendation: audio is re-encoded)	YouTube Help (behaviour only)
Apple Podcasts	about -16 LKFS, ±1 dB	not above -1 dBFS	Apple Podcasts for Creators
Broadcast (EBU R 128)	-23.0 LUFS (±1.0 LU where the target is not practicable, e.g. live)	not above -1 dBTP	EBU R 128 v5.0
Club and DJ files	No normalization; club masters commonly sit around -9 to -7 LUFS	true-peak safe	Practice, not a standard

LUFS and LKFS are the same unit (EBU R 128). A difference of 1 LU is 1 dB (EBU Tech 3341). The full explanation is in LUFS vs dB and how many LUFS a master should be.

Frequency ranges at a glance

The bands below are conventions, not a standard: engineers draw the boundaries in slightly different places. They are a map for finding a problem, not settings to copy.

Range	Approx. frequencies	What lives there	Typical problem
Sub	20–60 Hz	kick fundamental, sub bass	rumble that uses up headroom
Bass	60–250 Hz	bass line, body of the kick	boom, kick and bass masking each other
Low mids	250–500 Hz	warmth and body of most instruments	mud when many parts stack up
Mids	500 Hz–2 kHz	the core of vocals, guitars, keys	boxy or honky tone
Upper mids	2–5 kHz	presence and intelligibility	harshness and listening fatigue
Highs	5–10 kHz	attack, consonants, cymbals	sibilance
Air	10–20 kHz	openness, sparkle	brittle or hissy top

On a master the moves are broad and small. If one instrument is the problem, fix it in the mix: an EQ on the whole master changes every instrument in that range. See why mixes sound muddy.

Sample rate and bit depth

Destination	Sample rate	Bit depth	Note
CD (Red Book, IEC 60908)	44.1 kHz	16-bit	stereo PCM; reduce to 16-bit with dither
Spotify delivery	44.1 kHz or higher, keep the native rate	24-bit if that is the native master; 16-bit only if no higher master exists	FLAC preferred, WAV accepted
Apple Digital Masters	highest native sample rate	24-bit sources	do not upsample
Working files and mixdowns	the project rate	24-bit or 32-bit float	float files do not clip inside the file

A 16-bit file has a theoretical dynamic range of about 96 dB and a 24-bit file about 144 dB. The details, and when dither is needed, are in sample rate and bit depth for mastering.

The mastering chain in one line

Corrective EQ → compression (if needed) → tonal EQ or saturation (if needed) → stereo adjustments (carefully) → true-peak limiter → dither (only when reducing bit depth).

There is no single correct order, but the limiter stays last because it sets the final peak level. Each stage is explained in the mastering chain, step by step, and the difference between the two dynamics tools in compressor vs limiter.

Checklist before you release

✓ Compared with a reference track at matched loudness, not louder.
✓ Integrated loudness where you intended it, and true peak at or below your ceiling (for Spotify: below -1 dBTP).
✓ Checked in mono: the vocal and the low end are still there.
✓ Listened start to finish at a normal volume, including the first and last seconds.
✓ Exported at the native sample rate, 24-bit, unless the destination asks for something else.
✓ Checked on headphones and on a phone speaker.

Using it in Quantara

The studio shows momentary loudness and peak levels while you play, and the master preview reports integrated loudness, true peak and loudness range, so the numbers on this page can be checked on your own track instead of guessed. A free account includes one free export per account (MP3 320, with a watermark), no card required. Open the studio.

Frequently asked questions

What LUFS should I master to?

There is no single number. Spotify normalizes to -14 LUFS integrated, so a louder master is turned down on its default setting. Master for the song, keep true peak below -1 dBTP, or below -2 dBTP if the master is louder than -14 LUFS (Spotify's recommendation).

Is LUFS the same as LKFS?

Yes. EBU R 128 states that LUFS is equivalent to LKFS, the unit used in ITU-R BS.1770.

What sample rate and bit depth should I export?

Keep the project's native sample rate (44.1 kHz or higher) and export 24-bit. Spotify asks for 24-bit when that is the native master and says not to downsample a master made above 44.1 kHz. Use 16-bit with dither only for CD.

Where does the limiter go in the mastering chain?

Last, after EQ and compression, because it sets the final peak level. Only dither comes after it, and only when the bit depth is reduced, for example to 16-bit.