Mastering audio question!

Hello authors! im looking for some help here. Im new here, and also i had one audio logo rejected. My question here is when mastering my audio logo what volumen should i go for? i mean LUFS, true peak, dynamic range?. What is the ideal settings for mastering a logo? and a music track for audiojungle? (and when i mean a music track: corporate and children’s music in particular)

it would be so great if someone can give any tips here o any similar topic in this forum.
thanks!!

Hey man,

Im a mastering engineer. Peak should be 0 DB, a general guide for RMS -4 for dance, -6 pop/ rock, -10 classical/ ambient. don’t worry about LUFS for audiojungle

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Why LUFS? if each “media network”, hardware or software - will make the compression on their own, under their own standards.) Can I not until the end of, something understand?

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I think -4 by RMS is too much, I usually go to -10, maximum -7 by RMS. Too much compression cause a distortion to sound.

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Thank you very much for your response!! Help a lot! Good luck!!!

thanks a lot!!!

https://www.soundonsound.com/techniques/mastering-streaming-services

As you say you are a “mastering engineer”, and I am just a humble musician, I won’t say you’re wrong… but this is the first time in the last 15 years that I read that “peak should be 0dB”… :slight_smile:
I have always been said to keep at least 0.3dB of margin so that when the wave is converted to something else, such as mp3, it limits the risks of getting over the 0dB. ?

EDIT: I downloaded some of your previews, and wow, you are loud… my meters show a “Max True peak” of +1.0dB… so maybe EDM has not the same codes as other genres :wink:

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-1.9 dB ? I think 0 dB should be in mono when all channels are summed)

Why LUFS? Because we now have a way to express “loudness” better than with the good old “RMS”… So why not use it?

Sorry, I am lost… what are these “-1.9dB” and “0 db in mono” you are referring to?

LUFS is an invention for television and radio. it’s just the compression on other parameters than the RMS.

I agree that it is easier to write music at adequate volume, and then skip the final version through a program that normalizuet to the desired volume)

thanks for the reply. I work for most major labels regularly and deliver MFiT, DDP, MP3, Spotify specific and vinyl versions for some projects. LUFS is only a consideration for Spotify as they run everything though LUFS levelling. iTunes is is own animal. LUFS doesn’t apply to audiojungle tracks because our music isn’t the end product, its used in video productions so the longer term loudness is meaningless, mix volume of the music is usually automated and mixed with dialogue and SFX.

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In fact, on my side, I simply use LUFS as a loudness measurement instead of RMS, targerting my own desired value, and it helps get a somehow stable value.

To me, RMS was really basic, while LUFS takes some psychoacoustic considerations into account, but well, I am not here to say that LUFS is better than RMS… :slight_smile:

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Thanks, totally agree that the end level does not really matter that much here, are we are not the final product anyway.

But my question was about the peak, as I have always read, seen, been told, that some margin was really necessary to avoid any risk of going over 0; to be honest I blindly followed the current recommandation of -1 true peak. I noticed that since I do that, I never experienced the bad feeling of clipping/saturation I had when sending my track on some platforms that were doing the conversion to the streaming format (mp3 or opus).

Would be interested in knowing your opinion on this? Thanks!