Best Mastering Level for Streaming
Quick Answer
The best mastering level for streaming is an integrated -14 LUFS, as it best fits the loudness normalization settings of the majority of streaming services. Although other measurements like the true peak value and other metrics need to be considered, -14 LUFS is the best mastering level when considering loudness.
Best Mastering Level for Streaming in Detail
Streaming introduced new specifications mastering engineers need to account for when mastering.
Whenever a new medium is introduced in music, be it the compact disc, cassette, vinyl record or what have you, engineers need to put their heads together to figure out the specifics. Sometimes these specifics are easy to understand, but almost always, reaching any conclusion takes some trial and error, along with a deep understanding of the technology in question.
The latter situation is what we had found ourselves in as we speculated the best approach to mastering for streaming. Since streaming’s inception, the best way to master music as it relates to loudness and peaking has been a topic of debate. And to a certain extent, it’s still is a topic of debate.
Although mastering engineers don't really gather to discuss loudness (even though it would be funny if they did), there is still a debate waging regarding loudness normalization.
Fortunately, after a fair amount of research and experimentation by many engineers and audio enthusiasts, it can be said with a fair deal of certainty that the best loudness at which to master your music is -14 LUFS. This means a few different things.
First, it means you don’t need to concern yourself with additional plugins to determine your loudness penalty, or in other words, a plugin that shows you to what extent your music will be turned down.
Although plugins exist to measure loudness penalty, they aren't necessary for understanding how to properly master your music.
Secondly, you can be comfortable mastering your music to one loudness without the fear of truncating your dynamic range, or distorting your master on various streaming services if the right precautions are taken.
When mastering to -14 LUFS, your master can be distributed to multiple streaming services without distortion or dynamic truncation.
And lastly, you can start focusing on other aspects of your master that are just as important, like how peaking, encoding, and loudness normalization relate to how your master is ultimately portrayed when streaming.
More important than normalization is peaking and inter-sample, both from encoding and from D to A conversion.
With that said, let’s look at these points in detail, as we discuss why you only need to master to an integrated -14 LUFS.
But first, if you’d curious how your mix would sound mastered professionally, send it to us here: https://www.sageaudio.com/register.php
We’ll master it for you using solely analog equipment, and send you a free mastered sample of your mix.
Why -14 LUFS?
This is the big question. How did -14 LUFS get chosen as the primary loudness at which to master music for streaming?
Why -14 LUFS, is a fair question to ask.
Simply put, it’s the volume to which the most popular streaming service normalizes music. Although Apple Music and YouTube hold a great deal of clout in the music industry, Spotify currently holds the largest subscription base of any audio streaming service, with over 100 million paid subscribers and 217 million users in total. That being said, if someone is streaming music, odds are it’s going to be on Spotify.
The majority of music that is streaming, is streamed on Spotify.
Whenever music gets distributed to Spotify, the audio is stored, cataloged, and then encoded with information with a program known as ReplayGain. This program either turns up or down the volume of the track to the default -14 LUFS, depending on how loud the master is in comparison to that benchmark.
Spotify utilizes ReplayGain for its loudness normalization.
Now it should be noted that although ReplayGain doesn’t alter a master’s loudness to directly correspond with an integrated -14 LUFS, the results are incredibly close. Furthermore, Spotify has stated its plans to conform to the ITU 1770 standard, which uses an integrated LUFS as its measurement system.
Spotify plans to use ITU-1770 metering in the future.
This indicates that regardless of how music is normalized today, anything that has been uploaded to Spotify will eventually be held to the -14 LUFS standard. This gives a more than adequate reason for anyone distributing their music to Spotify, to master to or directly below an integrated -14 LUFS.
How does -14 LUFS Relate to Streaming Services Other than Spotify?
In truth, this information is hard to determine. Although we know that Youtube and Apple Music normalize audio to a similar benchmark as Spotify, they haven’t revealed exactly how they normalize audio.
Some report it to be an integrated -12 LUFS for YouTube and -16 LUFS for Apple Music, but these figures are more or less speculative. In fact, there are reports of YouTube normalizing audio to various volumes, or flat out not normalizing the audio at all. Perhaps it depends on the type of audio, be it dialogue or music, but this can not be said for certain.
What we can say with certainty, is that uploading a master file with an integrated LUFS of -14 will not be harmed by Apple’s or YouTube’s normalization process. This is due to a few reasons.
Even Spotify accounts for various loudness settings.
The first, loudness normalization does not affect the dynamic range of a recording. It only turns your master up or down according to a set benchmark loudness. Having your music turned up by loudness normalization or down by loudness normalization doesn’t change the distance between your master’s quietest and loudest moments - it only changes the relative volume at which all those moments occur.
All this to say, that mastering for Spotify, and then having your music distributed to Apple Music won’t result in a truncated master, only a quieter master.
Loudness normalization doesn't work like a limiter - it doesn't affect dynamic range.
The same goes for YouTube. Having your music turned up by its loudness normalization won’t make your master more dynamic. The only way this process can affect your master is by affecting its amount of clipping distortion - which is a reason for concern but can be avoided with certain precautions.
Remember when I said that mastering your music to -14 LUFS will allow you to focus on other, more important things? Well, these are the important things to which I was referring. Read the next section for the details.
If you’d like to learn more about mastering for other streaming services, you can check out our blog on the topic here: “Master Music for Streaming.”
How True Peak Metering and Encoding are Incredibly Important
Much talk and time has been spent on normalization. In some regards, this concern for loudness can be seen as an extension of the loudness wars, in that loudness is taking precedence over more important things.
Maybe that’s an exaggeration, but the truth of the matter is, all this time we’re spending worrying about how loud our masters should be is time we can spend better understanding the relationship between the encoding process, loudness normalization, and inter-sample peaking.
What’s more concerning than an integrated loudness is the potential of unwanted distortion. Unfortunately, this unwanted clipping distortion is something that occurs frequently during the encoding process.
If pushed, masters can clip during the encoding process.
In short, the encoding process can be understood as converting a PCM file like a WAV or AIFF to an MP3 or similar lossy file type. For Spotify, PCMs are converted to Ogg files, and for Apple Music, they are converted to AAC files.
Apple's latest AAC encoding process starts with a PCM file.
Essentially, during sample rate conversion and bit depth reduction, amplitudes that could otherwise be accurately represented by a bit of data can no longer be accurately represented when that bit is no longer available. This results in both quantization distortion and clipping when converting the signal from a digital to an analog signal.
If the red wave above was limited to only the bits provided by the blue line above, you'd lose a significant amount of your signal.
If you’d like to learn more about this process, here is a blog that goes into greater detail on the subject: “ What is Dithering****?”
The quantization distortion part of this problem is the difference between the original signal and the new signal, as the information that could not be encoded properly is converted into noise, or in extreme situations, harmonic distortion.
Unfortunately, not much can be done to remedy this on the end of the mastering engineer, at least not when the bit-depth is being reduced during encoding; however, precautions and techniques are implemented on the encoding side of things.
When it comes to clipping that’s associated with the encoding process, these can be avoided on the mastering side of things. There are a couple of tools that can be used to see if your music will peak when encoded or when played back.
True Peak Meter
A true peak meter accounts for the D to A conversion when music is played.
The first is a true peak meter. This meter measures the inter-sample peaks that can exist when converting a digital signal to an analog signal. It should be noted that although you may not see peaking on your left or right channels, there can still be inter-sample peaks that exist during playback.
As stated a moment ago, the encoding process alters the relationship between a signal’s amplitude and the digital information that can be used to represent this amplitude. When this occurs, inter-sample peaking can become exacerbated as the accuracy of quantization can be diminished.
Keeping your master's peak below -2dbTP is a great way to ensure it would distort during encoding.
This makes using a true peak meter even more important. It also means that the loudest peak of your master should not exceed -2dB on a true peak meter. The reason being that the encoding process will alter how amplitudes are quantized, in turn changing the nature of inter-sampling peaking and the D to A conversion process.
Furthermore, loudness normalization will no doubt alter the loudness of your master - meaning that peaks which wouldn’t have distorted during playback can now distort if dynamic enough.
Spotify recommends reducing your loudest peak to ensure clipping doesn't occur.
For example, if a song has a LUFS of -14, with it’s loudest peak at -.2 on a true-peak meter, and it was normalized to -12 LUFS, this -.2 peak could become a problem. Since normalization is pushing the signal louder in this instance, up by roughly 2dB, that peak will become louder as well. Even though the streaming service may account for this with a limiter, an inter-sample may still be created.
Spotify will use a limiter on highly dynamic masters. Be sure to control your dynamics so they don't become truncated by brick wall limiting!
However, if this peak was controlled to -2dB or lower on a true-peak meter, then the extra gain from normalization wouldn’t result in an inter-sample peak. The 2dB of gain added during normalization would push the signal to right below peaking.
AURoundTripAAC
This plugin shows clipping and inter-sample peaks in real-time.
This second tool is a plugin from Apple, that allows you to see both peaking and inter-sample peaking in real-time. What’s more, this plugin allows you to switch between different encoding processes, to measure if that process results in peaking.
Unfortunately, this plugin only measures the AAC encoding process , and will in turn only demonstrate how your master will be altered for Apple Music. With that said, it still demonstrates how encoding can alter your signal, and gives more reason to monitor your true-peak meter.
Ogg Vorbis Logo - Spotify typically uses the Ogg lossy format for streaming. Not Apple's AAC file.
Keep in mind that when using this plugin, normalization may still affect the overall volume of your track and in turn affect inter-sample peaking during playback. However, utilizing this tool with a true-peak meter can ensure that your music won’t peak during the encoding or playback process.
All this to say, that mastering to a -14 LUFS isn’t the only metric you need to pay attention to. But, by mastering to -14 LUFS, you have a good mid-ground so to speak for multiple streaming services. What’s truly important is how your integrated loudness relates to your dynamic range, as making a highly dynamic master louder through normalization can result in peaking. Understanding how encoding affects your master’s level needs to be paid attention to as well.
The relationship between encoding and inter-sampling peaking is more important than loudness normalization.
Again, it’s not as simple as mastering to -14 LUFS, but -14 LUFS does serve as a good foundation for loudness, from which you can measure both your true peaks and encoding peaks. The relationship between these things - your loudness, your true peak value, and your peaks post encoding is what truly matters when mastering for a streaming service.
So just to recap, when mastering for Streaming
- Master to an integrated LUFS of -14
- Control your loudest peak to -2dB on a true peak meter
- Use the AURoundTripAAC plugin to measure the potential peaks created by encoding
The Loudness Penalty and Plugins that Measure it
The loudness penalty is something we’ve discussed before in great detail.If you’d like to learn more about it here is a blog that covers the topic: “ Loudness Penalty****”
Loudness penalty plugins can show you how much your music will be turned down, but focus attention on the wrong aspect of normalization.
But the reason for bringing it up again is to explain why the notion of a “Loudness Penalty” isn’t too terribly important when considering the other possibilities that come with streaming, loudness normalization, and the encoding process.
Audio distortion from inter-sample peaking deserves a fair amount of attention, as it makes a noticeable change to streamed audio.
The idea behind the loudness penalty is that the worst thing that can occur to your master during the streaming process, is having it turned down by loudness normalization. But, as detailed above, there are worse things to concern yourself with when mastering for a streaming service.
In fact, one could argue that it’s worse to have your master turned up during loudness normalization than turned down. At least when your master is turned down, you don’t have to worry about inter-sample peaking as much as you would if your music was very dynamic and turned up.
All a loudness penalty plugin does is show you to what extent your music will be turned down or up by streaming service, and this may be valuable - but only valuable in how this information relates to the true peak value of your master and it’s eventual encoding process.
This isn’t to say that if you want to purchase one of these plugins you shouldn’t, but just to shift the emphasis or concern from how your master is normalized, to how your master may distort if the transition from your PCM file to a streaming service’s lossy encoding and playback isn’t properly thought out.
Conclusion
-14 LUFS will be sufficient for most streaming services.
Mastering for streaming may be complex, but it's not as complex as it has been portrayed to be. If you are curious at what volume you should master your music, an integrated -14 LUFS is a great place to start and will be adequate for most streaming services. It is also the default loudness normalization setting of the currently most popular streaming service, Spotify.
Instead of spending hours debating the perfect loudness for each streaming service, perhaps it’s wise to consider some other variables that can cause some serious damage to your master. The first being distortion that can occur during the encoding process, and the second being distortion that can occur during the digital to analog conversion.
If you make your master too loud, or your master is normalized too loudly, inter-sample peaks can cause distortion when your music is listened to. This distortion may occur regardless of whether your output meters are showing these peaks or not.
This problem can be exacerbated by the encoding process, which creates inaccuracies in the digital encoding, or quantizing, of a signal’s amplitude. These inaccuracies may result in greater inter-sample and regular sample peaks, in turn causing clipping distortion if severe enough.
There are two tools with which you can remedy these issues and ensure that when mastering, a loudness of -14 LUFS will be sufficient for all streaming services. These tools are a true peak meter, and an AURoundTripAAC plugin to measure the effects of encoding.
If you master your music to a -14 LUFS, and you control your peaks to roughly -2dB on a true-peak meter, you shouldn’t have any issues when your music is distributed to various streaming services.
If you’d like someone to handle this mastering process for you, just to ensure everything is handled correctly, send us one of your mixes here: https://www.sageaudio.com/register.php
We’ll master it for you and send you a free mastered sample in return.
How loud do you master your music?
Ready to make your mixes sound 10 times better, 10 times faster...
You're literally one step away from 10 times better sound.
The best part is... it's risk-free, if we can't make your mixes sound 10 times better, you don't pay for it.
START NOWREAD OUR REVIEWS
Review by Joel S.
If you're looking for great mastering, Sage is where you need to be. I've been working with Sage for years - they do an amazing job and are really easy to work with.
They actually care about your project and want it to sound its best just as much as you do. I'm always excited to get a song or project back from mastering. I've tried many mastering companies, and Sage is by far the best.
If you're serious about your music, it's worth checking them out; you won't be disappointed - they make your mixes sound balanced and professional.
They also offer mixing feedback to help improve your mixes and mixing and mastering education courses to help improve your sound. Shout out to Sage Audio! you can't go wrong - like I said, if you're serious about your music, this is your studio.
Review by April K.
I've been getting my masters done by Sage Audio for the past 4 years now, and I've tried multiple places in my 15 years in the music business. Sage Audio is the only one that has given me the quality I love!
Their mastering membership is an excellent deal for anyone looking for professional mastering and full customer service. Also, I never had an issue with submitting new mix versions for remastering or asking for too many revisions - they have always been very respectful about remastering new mixes and making any adjustments I wanted. I'm staying with Sage, no need to look further! Best masters out there!
Review by Justin G.
Sage Audio is by far the best audio engineering company I've found. I've been with them for 8 years, and it's clear that they set the bar high in regard to mastering services. Their online platform makes it easy to upload tracks and communicate directly with your own dedicated mastering engineer, and their customer service is excellent.
Overall, the sound achieved by Sage Audio engineers is awesome. Their mastering brings out the best in each track - improving clarity, depth, and impact - and they focus on crafting personalized masters that are specific to your needs.
Another thing that sets Sage Audio apart from other mastering services is that the mastering is actually done with your dedicated mastering engineer and not some sort of AI software, and you get full customer service and feedback on your mixes too.
Their commitment to delivering top-tier mastering while maintaining consistent communication shows how much they care about their clients' music. For anyone looking for a personalized online mastering that combines top-level quality with excellent customer service, look no further than Sage Audio.
Review by James T.
The engineers at Sage Audio could not have made my first commercial audio experience any better! Every time I emailed to get a question answered, I worked with the same person consistently.
They know what they are doing; after listening to my masters on numerous systems, I heard my music in a whole new light. My bass and kick were tighter, not muddy, and hit with the "grit" that I intended. My mids and highs were clear, vibrant, and presented well on all stereos and devices.
I could have never achieved this level of quality without their diligent minds and professional know-how! If you are looking to get your project up to a commercial level while meeting a budget, Sage Audio is the place to go!
Review by Rebecca D.
Sage Audio is by far the best mastering service! They are the most professional, kind, and loyal people. Every song they mastered was spot on!
For artists looking to have their music mastered, they have an awesome and affordable mastering membership and are dedicated to making every mix sound like a professional master. Thank you, Sage Audio, for transforming my music!
Review by Daniel S.
The last ten years of my audio mixing career have been plagued by frustration, self-doubt, and compulsive shopping for magic game-changing plugins that can fix my poor mixes... guess what... it was all wasted time and money; I was shooting in the dark.
Until now.
I had heard about Sage Audio a long time ago, but at that time, their pricing seemed too expensive - how wrong I was.
Firstly, there is no substitute for hard work; you must do your part; what this service gave me was perspective - what's different about this master from my own? why? what am I missing? how can I improve my final mixdown in order to get the best possible master?
The included courses are really useful and well explained, but to me, the real power is the community of engineers offering their feedback; there's nothing like a second set of ears, or a lot of sets of ears! Getting other engineers' advice is priceless, and fixing common problems suddenly became very simple.
The best part is that I have made a bunch of mixes on my own now and am starting to get incredibly good responses - my confidence is up, with no additional plugins, no new DAW, not even new monitors.
I've been a Sage Audio member for about 9 months now, and all services are excellent. The 1-on-1 mixing feedback is incredibly helpful, and the professional community is way more active than I could have imagined. I'll be here for the long haul. So, if you're ready to take your music to the next level and change a lot of misconceptions, this is your place!
Review by Thomas E.
I am a musician and songwriter with decent recording skills, but I could never get my final mixes mastered to where the EQ, volume, and clarity sounded good on all playback systems without distortion.
I did extensive research on mastering and tried expensive studio headphones, but I never quite "mastered" mastering. It was very frustrating and took way too much time away from my music.
Then I found Sage Audio, and it sounded like just the service I needed at a reasonable price, so I joined their membership.
It was a game-changing decision. They always respond quickly and are focused on pleasing their customers. They mastered several of my songs, and they all came out perfect.
One of them took three takes because I had to change some levels and panning, but each time, they said, "No problem, we want you to be 100% happy with the final master."
They even asked for ways to improve their service, and they have a unique service where you can upload your mixes and receive feedback directly from them for improvement. I also found in the community, there are great musicians, singers, and songwriters to collaborate with for future projects.
In summary, Sage Audio has saved me a lot of time and provided great masters for my songs, way better than I could have ever done! I give them my highest recommendation.
Review by Frank B.
I've been using Sage Audio for a while now and have been very pleased with their professionalism and quality of work!
I'm NOT new to the audio production world and have been mixing and self-mastering for over a decade. I've used Grammy-winning mastering engineers as well as online AI-driven mastering services, so I know the full range of mastering services available to artists and their producers.
What sets Sage apart, IMO, and, in my experience, is that they are very customer-centric and will do almost anything to make the customer happy with their work. An example is a recent master I wasn't 100% happy with because it was too compressed for Classical material. They jumped right on it, giving me another more gently compressed master, which I'm delighted with. This was a NO EXTRA CHARGE. I know from experience that this isn't the norm in this industry, where egos prevail.
An example of Sage's superior work is when a client I'm working with wanted proof that it was better than a well-known, low-cost AI-driven mastering service. While my instructions to both Sage and the online service were close, only Sage had a human to interpret some of the instructions. As a result, the Sage master was considerably LOUDER and had more HEADROOM to boot. You can't ask for much more for a Pop song.
In summary, I'd recommend Sage to anyone looking for professional mastering for their upcoming release.
Give them a shot. I'm sure you'll be pleased.
Review by Dan Y.
Sage Audio has been a lifesaver for me. Mastering was my weakest point, and I only wish I could've found them sooner. I have used their services for the last 6 months and have also recommended them to several of my musician friends. Every track I send comes back sounding brilliant.
I once experimented by mastering one of my songs by myself, by another leading mastering studio, and also by Sage Audio. Sage's master was hands-down the best: clear, loud, yet dynamic, and the overall sound was smooth. I can say with 100% confidence Sage Audio is the best mastering service around.
It's also a pleasure connecting with their team on a personal level; they are very attentive to details and respond fast.
Review by Irene F.
I found Sage Audio when I was searching for a company that could master my original songs. My initial email was responded to in less than ten minutes. I explained my situation, then created an account and uploaded my mix for mastering.
I let my engineer know what was bothering me in the song and what I would like it to sound like. In a short time, he sent me a notification email to download the master and asked if it was to my liking.
On first listen, it blew me away, as it contained everything I had asked for, and the sound was vibrant, clear, and, quite frankly, perfect. I've been with Sage Audio ever since - they're so easy to work with, friendly, eager to help, and highly professional. I would recommend them to anyone.
Review by Aaron C.
I first used Sage audio 3 years ago to get an album mastered. I hadn't used an outside service for mastering before, so I didn't know exactly what to expect, but I had learned a lot from the Sage Audio YouTube channel and liked the clear, concise way the videos explained various audio principles, so I felt comfortable using their services.
Not only did the masters sound amazing (dynamic, but still as loud as I wanted), but the engineer answered all of my questions and responded to my emails almost immediately.
To add to that, considering all the services you get with the membership is an incredible deal - it Includes mastering, mixing feedback, courses, and community. It's everything you need, and their customer service is top-notch.
As good as their YouTube videos are, I knew this would be a fantastic resource; as a college professor myself, I recognize excellent instruction, and Sage has a knack for breaking down complex processes and demonstrating how plugins work in concise bursts that never overwhelm the learner.
More importantly, you will come to understand when to use the tools in your arsenal and why to do so. You, thus, are learning how to ask better questions of the mastering engineers that you have access to through your membership, and ultimately, you are being empowered to become an engineer yourself!
Review by John G.
I started using Sage Audio to master my songs about three to four years ago - I wish I had found them earlier. Their mastering makes my mixes sound like professional songs, and they're a delight to work with.
Also, they have a very active community of musicians, producers, and engineers, along with mixing and mastering courses - which have provided me with so much useful information. On top of that, the mixing feedback is excellent, and they continually provide thoughtful suggestions, which I've found invaluable for improving my mixes. It's worth checking them out - you will not be disappointed.
Review by Brandon T.
I had Sage Audio master my last 3 albums, and I plan to use them for my next release too. They do an exceptional job of creating balance and clarity for each project, and they are so friendly and helpful when it comes to answering questions and offering suggestions.
Their experience is invaluable, and they have truly insightful feedback when it comes to mixing and mastering. I have tried other companies in the past and came back to Sage to get that professionally polished sound every time.
Review by Ben V.
A few months ago, a friend of mine recommended I try Sage Audio for my final master's. Being a mix engineer myself, I was hesitant at first due to the fact that in the past, when using online mastering, I found that no engineer would care for the track as much as I would.
Knowing the basic rule that you always want to have another set of ears to master anything you've mixed, I realized I had hit a plateau in how far I could take my final master. To my surprise, Sage and the team took my master's to a level I could not reach, both dynamically and sonically.
I'm a full-time artist who is constantly recording, releasing, and traveling. The burden that the Sage team has taken off my shoulders by being a trustworthy mastering service is tremendous.
They have provided me with quick turnarounds while out of the country to meet deadlines for releases and are understanding & receptive when I request changes after hearing a master, even going as far as to follow up with me, confirming that I am 100% happy with the final master, quoting, "I'm not happy unless you're happy."
Another benefit to Sage Audio is their library of mixing and mastering tutorials. Any good sound engineer knows that there are a million ways to reach a rich, dynamic final mix or mastering and that you're never done learning how to engineer. Sage's courses offer a great refresher on fundamentals and a clear understanding of complex techniques to help push you as an engineer.
Cheers Sage, thanks for the excellent service!
Review by Charlie E.
My writing partner and I have recorded and mixed 2 albums and a few singles, the first 2 albums we did were mastered by a different company. The masters were ok, but from that experience, we developed a better and more critical understanding of the mastering process.
Upon preparing to have our 3th album mastered, we did some research and exploration for other mastering options and found Sage Audio - which is where we had our latest album mastered.
We were both very much impressed with the work, the communication, and the willingness to create the exact sound we wanted for the album. We definitely heard a difference in the mastering - Sage Audio masters are clean, clear, and professional.
On top of that, we really enjoyed receiving mixing feedback, which was really helpful for making adjustments to bring the most out of our mixes before sending for mastering. For anyone seeking true audio professionals, I recommend Sage Audio!
Review by Sam V.
Sage Audio mastering engineers are the best I've ever worked with! I've been an Artist, Songwriter & Producer for over 12 years, and believe me, over the years, I've worked with several studios and countless engineers. But since I connected with Sage Audio, those days are over. I took a chance on something new - sent my first mix to see how it would go, and they didn't waste any time lol, they responded the very next day, and the master I got back far exceeded my expectations.
The level of quality and attention to detail was impressive. It was everything & more than what I hoped for, and now I will never trust my mixes in any other hands. They've quickly become my number 1 go-to-guys for mastering, hands down.
Not to mention, they also give you in-depth mixing feedback to help you improve your mixes before sending them for mastering. You can't go wrong with Sage Audio. These guys definitely deserve all the credit in the world. I would strongly recommend them to anyone out there looking for solid professionals to polish your mix. I can personally promise you, Sage Audio will deliver every time!
Review by Ryan B.
I've been using Sage Audio for mastering my tracks over the past year and a half, and they've been great on every front.
If I need a track mastered within a week, they usually get back to me with a high-quality finished master within a few days, and the cost is negligible compared to what some other studios are charging.
They also have an active community, and their mixing feedback option is super helpful; their suggestions are specific, revealing, and accurate.
I highly recommend them if you're a musician, producer, or mixing engineer who needs that last bit of polish before you release. They're worth every penny.
LISTEN TO OUR SAMPLES
Ready to make your mixes sound 10 times better, 10 times faster...
The best part is... it's risk-free, if we can't make your mixes sound 10 times better, you don't pay for it.
HERE'S WHAT'S INCLUDED IN YOUR SAGE AUDIO MEMBERSHIP
- One-on-One Mixing Feedback
Private 1-on-1 mixing feedback directly from us
- Mastering Service
Custom mastering service tailored to your specific sound
- Mixing Course
Access to our 23-video structured step-by-step mixing course, including walkthrough sessions for 8 genres, featuring mixing chains with free and paid plugins — Multitracks for mixing practice are included
- Mastering Course
Access to our 19-video structured step-by-step mastering course, including walkthrough sessions for 8 genres, featuring mixing chains with free and paid plugins — Unmastered mixes for mastering practice are included
- Community
Access to the thriving Sage Audio community for discussions and networking
- Cancel Anytime
No commitments
- Risk-Free Money-Back Guarantee
If we can't make your mixes sound 10 times better, you don't pay for it, so it's risk-free
What's the Endgame?... You have mixes that sound 10 times better — songs you're proud of that make people say "Wow."
We guarantee 10 times better sound, or you don't pay for it, so it's risk-free. Members get 1-on-1 mixing feedback, mastering service, courses & access to our thriving community. That’s about it.
If you want to transform your mixes from a source of pain and struggle to a source of pleasure and fulfillment, JOIN NOW. The struggle stops now. START NOW
