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Old 18th November 2017
  #26
Gear Maniac
 

Quote:
Originally Posted by Square Citizen View Post
I've been reading what I can find on the subject of mastering for iTunes, Spotify etc and I'm still not understanding it fully.

I bought Expose and have been trying to prep a master for Spotify.

In order for me to stay within the guidelines, I'm just touching my limiter with maybe 1db of reduction on peaks.

Up until now, I've tried to level match with professionally produced CDs and obviously that requires a lot more limiting.

Here's where I'm confused. My mixes are obviously going to be radically different in these two scenarios. I know that more dynamics are generally prefered but I actually prefer my mixes more heavily limited.

Is there a different way to approach this so I can still hit the limiter a bit harder and still have acceptable levels for Spotify etc?
If you prefer a more compressed sound, I would recommend addressing each channel with the right amount of compression for that material rather than pushing a blanket setting over the whole mix. That was y you could fine tune the sound you are trying to achieve in the most appropriate way for each instrument and sound.

Spotify would stream your track somewhere between -12 to -16 LUFS integrated regardless of how loud you master it, so go for the sound that right for you and Spotify will normalise.

I would still recommend keeping your true peaks at -1dBTP (decibels true peak).

Quote:
Originally Posted by Square Citizen View Post
Up until now, I've tried to level match with professionally produced CDs and obviously that requires a lot more limiting.
If you're level matching to check how your production compares in terms of the balance, you're better off bringing the reference track volume down to match your production rather than pushing the limiter to bring up the level of your production. This is because extreme settings on the limiter can effectively change the balance of your track.