“What dB should I master to?” usually mixes up two different stages: levels in your mix before mastering, and levels on the finished master for streaming.
This guide separates them so you export correctly and know what to expect back.
Two stages, two different targets
| Stage | What you control | What matters |
|---|---|---|
| Mix (before mastering) | Peak headroom on stereo bounce | Space for engineer to work — not final loudness |
| Master (final file) | Integrated LUFS, true peak | Release-ready for Spotify, Apple Music, etc. |
You do not “master to -14 dB” on your mix bus. You leave headroom in the mix; the mastering engineer sets release loudness.
Before mastering: mix peak levels (dBFS)
Export your stereo mix with headroom:
- Peak levels often around -6 dBFS or lower (not hitting 0)
- Avoid heavy limiting on the mix bus
- Do not normalize the mix to 0 dBFS before export
dBFS = decibels relative to digital full scale in your DAW. 0 dBFS is the ceiling — clipping sounds harsh and cannot be undone cleanly.
Why headroom matters:
- Mastering uses EQ, compression and limiting
- No headroom = distortion or a master that cannot breathe
If your mix already sounds “as loud as the radio” before mastering, you have probably used too much bus processing.
→ What files do you need for mastering?
After mastering: LUFS (perceived loudness)
Streaming platforms care about average loudness over time, measured in LUFS (Loudness Units relative to Full Scale).
You will see targets like:
- Spotify — normalization commonly discussed around -14 LUFS integrated (platform algorithms evolve — masters are adjusted at playback)
- Apple Music — often cited around -16 LUFS for their Sound Check reference
Important: These are playback normalization references, not a rule that your WAV file must read exactly -14 LUFS before upload. Masters vary by genre — a soft ballad and loud EDM will not share one number.
What to aim for in practice:
- Competitive for your genre on Spotify
- No clipping; controlled true peak
- Dynamics still audible — not a flat brick
Deep dive: Mastering loudness explained · Mastering for Spotify.
True peak (dBTP)
True peak measures inter-sample peaks — digital overs that meters might miss.
Release masters often keep true peak around -1 dBTP or lower (some distributors recommend up to -2 dBTP for codec safety). Exact specs vary — your mastering engineer and distributor guidelines win.
Common dB questions answered
“Should my mix hit -14 LUFS before I send it?”
No. Send a balanced mix with headroom. Let mastering set release LUFS. If you slam the mix to streaming loudness yourself, you often lose quality and gain nothing after normalization.
“Should the master be as loud as possible?”
No. Louder is not always better on Spotify — overloaded masters get turned down and can sound smaller. Aim for great tone and translation, not a meter war.
“What about -6 dB vs -3 dB on the mix?”
More headroom (e.g. peaks at -6 dBFS) is usually safer than a mix peaking at -1 dBFS with a limiter glued on. If unsure, more headroom is better than less.
“Is 0 dBFS the mastering target?”
No. 0 dBFS is the digital ceiling. Masters need true peak margin below that. Clipping is never a goal.
Genre changes the “right” loudness
| Genre | Typical character |
|---|---|
| Jazz / acoustic / ambient | More dynamic, lower average LUFS |
| Pop / rock | Moderate loudness, clear vocal |
| EDM / hip-hop | Often louder averages, still needs punch |
Use references in the same genre at matched volume — how to use reference tracks.
What to tell your mastering engineer
Instead of “master to -14 dB,” try:
- “Release on Spotify — competitive with [reference track]”
- “Keep dynamics — don’t crush transients”
- “Warmer / brighter than my rough level-matched reference”
GigTunes engineers target appropriate loudness from your notes and references.
Checklist
Mix export:
- WAV stereo, 24-bit preferred
- Peaks not at 0 dBFS; bus limiter off or gentle
- Balance approved
Master expectations:
- Competitive for genre on streaming
- Clean true peak; no distortion
- Sounds good on phone and headphones