What LUFS level should I aim for on Spotify?

Spotify normalizes around -14 LUFS integrated. Many modern masters are louder (-10 to -8 LUFS) for stylistic reasons; they will be turned down on playback. What matters is avoiding distortion and keeping a true-peak ceiling around -1 dBTP.

Can I master in the same session as the mix?

Yes, but it is harder to step back. Exporting the mix and mastering it in a separate session, after a break, usually gives better results.

In what order should mastering plugins go?

Most common: corrective EQ, compression (full-band or multiband), saturation, finishing EQ, optional clipper, then the limiter last. There is no mandatory order except the limiter, always at the end of the chain.

Mastering: the steps to a clean master in your DAW

3 min read · Updated September 28, 2026

Mastering does not save a bad mix: it finishes it. Its job is to balance the overall sound, make it cohesive and loud enough for streaming platforms, without crushing it. Here are the steps, in order, with numbers to keep you on track.

In short

Export a mix with headroom: peaks around -6 dBFS, no limiter on the master bus.
Compare with a reference all the time, at equal loudness.
Correct the tonal balance in small moves (1 to 2 dB).
Control dynamics, per band if needed.
Add density and color sparingly.
Limit with a -1 dBTP true-peak ceiling and aim for a consistent loudness.
Check in mono and on several playback systems.

Preparing the mix

Export the mix as a 24-bit WAV at the project sample rate, with peaks around -6 dBFS and no limiter or maximizer on the master bus: mastering needs that headroom. Listen through once more to spot problems that are better fixed in the mix (a vocal too quiet, a kick that disappears).

A measured diagnosis helps you decide: Mixova measures loudness, dynamics, frequency balance, stereo correlation and clipping, then suggests corrections you keep or undo, at equal loudness.

Listening to a reference

Pick one or two songs in the same style whose sound you like and import them into the session. Turn them down to your mix's level before comparing: the ear always prefers louder. Compare the low end, brightness, width and density.

Reference Match puts numbers on those differences (loudness, band-by-band spectrum, width, dynamics) and turns them into advice. Calqua goes further on tonal balance: it computes the EQ that brings your curve closer to the reference's, with an amount control to stay natural.

Coming soonTrace the tonal color of a reference onto your track.

Correcting the tonal balance

In mastering, EQ is done in small moves: 0.5 to 2 dB, with wide bells. Muddy lows (200 to 400 Hz), a lack of air above 10 kHz, low mids hiding the vocal: fix what bothers you across the whole song.

Mid/Side processing helps separate the center (vocal, kick, bass) from the sides (guitars, reverbs): for example a high-pass around 100 Hz on the sides only, to keep a solid, centered low end. Eqora works in Stereo, Mid or Side, across eight bands.

Controlling dynamics per band

A full-band compressor on the master smooths everything, but a loud kick makes it react across the whole spectrum. A multiband compressor only compresses the band that overflows: low end swelling in the choruses, highs hissing on certain notes.

Stay light: 1 to 3 dB of reduction per band at most, with attacks slow enough to keep the punch. Multra offers four bands with adjustable crossovers and a true Mid/Side mode.

Density and color

Subtle saturation (tape or tube) rounds off peaks and adds harmonics that make the sound denser at equal loudness. A soft clipper placed before the limiter can also take care of the shortest peaks, so the limiter works less hard.

Tubra (Tube or Tape saturation, aligned parallel mix) and Clipra (clipper with a SAFE mode) cover both uses. Either way, compare often with bypass, at equal loudness.

Limiter and loudness

The limiter is the last link: it sets a ceiling the signal never exceeds. Set it in true-peak mode at -1 dBTP: true-peak detection avoids distortion when converting to MP3 or AAC. Limita watches those inter-sample peaks, with a -1 dBFS ceiling by default.

Most platforms (Spotify, YouTube) normalize playback around -14 LUFS integrated, Apple Music around -16 LUFS: a much louder master is simply turned down, having lost its dynamics for nothing. Aim for a loudness consistent with your style and references rather than the maximum possible.

Checking in mono and everywhere

Listen to the master in mono: if the vocal or the bass gets noticeably weaker, there is a phase or width problem to fix (often in the mix). Ampla at 0% width works as an instant mono check.

Then listen on several systems: headphones, speakers, phone, car. A successful master stays balanced everywhere, without being perfect anywhere.

Frequently asked questions

What LUFS level should I aim for on Spotify?: Spotify normalizes around -14 LUFS integrated. Many modern masters are louder (-10 to -8 LUFS) for stylistic reasons; they will be turned down on playback. What matters is avoiding distortion and keeping a true-peak ceiling around -1 dBTP.
Can I master in the same session as the mix?: Yes, but it is harder to step back. Exporting the mix and mastering it in a separate session, after a break, usually gives better results.
In what order should mastering plugins go?: Most common: corrective EQ, compression (full-band or multiband), saturation, finishing EQ, optional clipper, then the limiter last. There is no mandatory order except the limiter, always at the end of the chain.

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