Mixing and Mastering for Spotify: Complete Guide

If you’re preparing a track for Spotify, understanding how to properly approach mixing for Spotify If you’re preparing a track for Spotify, understanding how to properly approach mixing for Spotify isn’t optional—it’s essential. Spotify processes every track through normalization algorithms that can either make your music shine or expose weaknesses in your mix. I’ve been mixing and mastering professionally for over a decade, working with major label artists and indie musicians alike, and I can tell you that the streaming landscape has fundamentally changed how we need to approach our final audio.

In this guide, I’m breaking down everything you need to know about mixing and mastering specifically for Spotify. This isn’t generic advice—these are the exact techniques I use when delivering masters that need to compete on streaming platforms.

Understanding Spotify’s Audio Specifications

Before you even open your DAW, you need to understand what Spotify actually does to your audio. Unlike physical formats or even traditional digital downloads, Spotify applies loudness normalization to every single track that gets uploaded to their platform.

Loudness Normalization Explained

Spotify normalizes all tracks to -14 LUFS (Loudness Units relative to Full Scale) by default. This means if your track is mastered louder than -14 LUFS, Spotify will turn it down. If it’s quieter, they’ll leave it alone—they don’t turn tracks up, only down.

Here’s what actually happens:

• Tracks mastered at -8 LUFS get turned down about 6 dB by Spotify
• Tracks at -14 LUFS play back at their original level
• Tracks at -16 LUFS or quieter stay at their original level (but sound noticeably quieter than everything else)

Here’s the thing though—and this is where a lot of people get it wrong. Yes, Spotify normalizes to -14 LUFS, but that doesn’t mean you should master to -14 LUFS. In my experience working with major label releases and thousands of independent artists, tracks mastered at -14 LUFS often sound quieter and less competitive than commercially released music. Why? Because most professional releases are still being mastered louder, and the limited sound is actually the sound of modern popular music.

Supported Audio Formats and Quality Tiers

Spotify uses different streaming quality tiers:

• Free users: 160 kbps Ogg Vorbis
• Premium users: up to 320 kbps Ogg Vorbis
• Upcoming HiFi tier: expected to be lossless quality

For upload, Spotify accepts WAV, FLAC, or high-quality MP3 files. I always recommend uploading 24-bit/44.1kHz WAV files. Yes, Spotify converts to lossy formats, but starting with the highest quality source ensures the best possible conversion.

Mixing Fundamentals for Streaming Platforms

When I’m mixing for Spotify, my approach changes in subtle but important ways compared to mixing for other formats. The goal is to create a mix that sounds great at -14 LUFS and maintains clarity through lossy compression.

Getting Your Frequency Balance Right

Lossy codecs like Ogg Vorbis can be particularly harsh on certain frequency ranges. Here’s what I focus on:

• Low end clarity: Keep bass content tight and controlled. Muddy low end gets even muddier through lossy compression. I high-pass almost everything that doesn’t need to be there, typically starting around 80-100 Hz for most instruments.
• Mid-range definition: This is where your mix lives or dies on streaming. The 200-800 Hz range can get congested fast. I’m aggressive about carving space here—every element needs its own pocket.
• Top end air: Spotify’s codec can smear high frequencies. I tend to be conservative with aggressive high-frequency boosts above 10 kHz. A little goes a long way, and too much can turn into digital harshness.

The key is to create separation without resorting to extreme EQ moves. Subtle subtractive EQ almost always beats aggressive boosting, especially for streaming.

Managing Dynamic Range

This is where mixing for Spotify gets interesting. Since Spotify normalizes to -14 LUFS, you actually have permission to preserve more dynamic range in your mixes. I’m not saying go full orchestral dynamics on a pop track, but you don’t need to crush everything flat either.

For most genres, I aim for:

• Pop/Hip-Hop: 6-9 dB dynamic range
• Rock/Alternative: 8-11 dB dynamic range
• Singer-Songwriter/Acoustic: 10-14 dB dynamic range

These aren’t hard rules, but they give you a starting point. The idea is to use compression musically, not just to make things loud. Your mix should breathe.

Reference Tracks Are Non-Negotiable

I reference constantly. Not occasionally—constantly. I’ll pull up 3-5 professionally mixed tracks in the same genre and A/B against my work throughout the entire mixing process.

Here’s my process: I’ll import reference tracks into my session, level-match them to my mix (usually using a plugin like REFERENCE or just matching by ear), and check:

• Overall tonal balance—am I too bright? Too dark?
• Low-end weight—is my bass hitting as hard?
• Vocal presence—is the lead sitting in the right spot?
• Overall width and depth—does my mix have similar dimension?

The goal isn’t to copy the reference—it’s to understand what professional mixes sound like in your genre and use that as a calibration tool for your ears.

Mastering Specifically for Spotify Upload

Here’s where we get into the technical side of actually preparing your master for Spotify. This is different from mastering for CD, vinyl, or even other streaming platforms.

What Loudness Should You Actually Target?

This is the question everyone asks, and here’s my honest answer based on years of delivering masters for streaming: I typically master around -8.5 LUFS integrated for Spotify and all streaming platforms. Not -14 LUFS like a lot of the “streaming optimization” articles suggest, and not -6 or -7 LUFS unless you’re specifically going for that extremely limited sound that works in certain genres.

Why -8.5 LUFS specifically?

• It’s loud enough to compete with commercial releases across all formats—not just Spotify
• Spotify turns it down about 5.5 dB, which is a reasonable compromise
• You maintain good dynamics while still having that polished, limited sound that defines modern popular music
• It translates well to other streaming platforms (Apple Music, YouTube, Tidal) that have different normalization targets
• Your track won’t sound noticeably quieter than professionally released music in playlists

Here’s the reality: the sound of limited music IS the sound of popular music. Listeners are conditioned to that sound. If you master to -14 LUFS thinking you’re playing it safe for Spotify, your track is going to sound quieter and less competitive when it’s sitting in a playlist next to major label releases that are hitting -8 to -9 LUFS.

Now, there are times when you might go harder—around -6 or -7 LUFS—if you’re going for that extremely limited, aggressive sound. Some genres and production styles call for it. But you’ll usually get better results at less extreme levels like -8.5 LUFS, where you’re still competitive but preserving more punch and dynamics.

True peak limiting is equally important. I always limit to -1.0 dBTP (decibels True Peak) to prevent inter-sample peaks that can cause distortion during codec conversion. Some engineers go to -2.0 dBTP to be extra safe, which isn’t a bad idea if your mix has a lot of high-frequency content.

Use a true peak limiter—not just a sample peak limiter. The difference matters for streaming. I use limiters that show both sample peaks and true peaks simultaneously.

My Mastering Chain for Streaming

Here’s what a typical mastering chain looks like when I’m preparing for Spotify:

• Linear phase EQ: Subtle corrections, usually just smoothing out any frequency imbalances. Maybe a gentle low shelf around 80 Hz, a touch of air around 12 kHz. Nothing dramatic.
• Multiband compression: This is where I control dynamics across the spectrum while maintaining musicality. I’m typically looking at 2-4 dB of gain reduction depending on the material. This helps glue the mix together and prepares it for limiting.
• Stereo imaging: Careful mono-ing of low end (below 120 Hz) and subtle widening of highs if needed. Spotify’s codec can mess with extreme stereo width, so I keep it reasonable.
• True peak limiter: Final control to hit our -8.5 LUFS target while maintaining -1.0 dBTP ceiling. This is where the magic happens—getting competitive loudness while preserving the punch and character of the mix. I’m usually seeing 3-6 dB of gain reduction here depending on the genre and how dynamic the mix is.

The key is using limiting musically. At -8.5 LUFS, you’re getting that polished, controlled sound that characterizes modern productions without going so hard that you destroy all the life in the track. It’s a balance, and it’s a sound that works across all streaming platforms and formats.

Quality Control Before Upload

Before you upload anything to Spotify, run these checks:

• Use a loudness meter to confirm you’re hitting around -8.5 LUFS integrated (give or take 0.5 LUFS depending on genre)
• Check true peak levels—nothing should exceed -1.0 dBTP
• Listen in mono to catch any phase issues that might get worse through codec conversion
• A/B your master against professional references at matched loudness
• Test on multiple playback systems (headphones, phone speaker, car, studio monitors)

I also recommend creating a low-quality MP3 export (128 kbps) and listening critically. If it sounds bad at 128 kbps, Spotify’s encoding will expose those same issues. Any harshness, distortion, or frequency imbalances become more obvious through lossy compression.

Common Mistakes to Avoid

I’ve heard thousands of tracks over the years, and these are the mistakes I see (and hear) repeatedly when people are mixing for Spotify:

Over-Limiting to Extremes

Here’s the nuance: limiting isn’t bad. In fact, the controlled, limited sound is what modern popular music sounds like. But there’s a difference between smart limiting at -8.5 LUFS and absolutely destroying your track at -6 or -7 LUFS when you don’t need to.

The mistake I see is artists pushing for maximum loudness without understanding the tradeoffs. If you’re mastering to -6 LUFS, you better have a good reason—maybe it’s a specific genre aesthetic, maybe it’s an artistic choice for aggressive electronic music. But if you’re doing it just because you think “louder is better,” you’re wrong.

At -8.5 LUFS, you get competitive loudness while preserving the punch, dynamics, and character that make your mix hit hard. You’re getting that polished, limited sound without going so extreme that you’re crushing all the life out of the music. That’s the sweet spot for most genres and most productions.

Ignoring True Peak Levels

Sample peaks and true peaks are different. Your DAW might show -0.1 dB sample peak, but the true peak could be hitting +1.5 dBTP. When Spotify converts to Ogg Vorbis, those inter-sample peaks can cause audible distortion. Always use a true peak limiter and leave at least -1.0 dBTP headroom.

Excessive Low-End Energy

Lossy codecs struggle with excessive low-end content. If you’ve got kick drums hitting at 30 Hz and bass synths rumbling at 40 Hz and they’re both loud, you’re going to run into problems. Spotify’s codec will create artifacts, your track might sound distorted on certain playback systems, and you’re wasting headroom on frequencies most people can’t even hear properly. Clean up your low end. Be ruthless about it.

Skipping Real-World Playback Testing

Your studio monitors or expensive headphones aren’t where most people listen to Spotify. They’re using AirPods, cheap earbuds, phone speakers, Bluetooth speakers in their car. If your mix only sounds good on high-end gear, you’ve failed. Test everywhere. I’m talking laptop speakers, phone speakers, cheap headphones—all of it. This is where you catch problems before your listeners do.

Advanced Techniques for Professional Results

Once you’ve got the fundamentals down, these advanced approaches can take your Spotify masters to the next level.

Codec Preview Testing

Want to know exactly how your track will sound on Spotify? Create a codec preview. Export your master as a WAV, convert it to 320 kbps Ogg Vorbis using a tool like FFmpeg, then import it back into your DAW and compare.

Listen specifically for artifacts in the high frequencies, any smearing of transients, and how the low end translates. If something sounds off in the Ogg Vorbis version, go back and address it in your mix. This one technique has saved me countless revisions.

Strategic Mid-Side Processing

Mid-side EQ and compression can be powerful for streaming masters. Here’s what I do:

• Keep everything below 120 Hz in mono using mid-side EQ. This tightens the low end and prevents phase issues.
• Use subtle compression on the mid channel to control lead vocal and key instruments without affecting width.
• Add a touch of high-frequency air to the side channel (around 10-12 kHz) to enhance stereo width without making the mix feel disconnected.

Be careful not to overdo it. Extreme stereo width can fall apart in mono, and many people still listen in mono (phone speakers, certain Bluetooth devices, etc.). Always check your mix in mono before finalizing.

Proper Dithering for Bit Depth Reduction

If you’re working at 24-bit and need to deliver 16-bit files, use proper dithering. I use TPDF (Triangular Probability Density Function) dither for most applications. This adds a tiny bit of noise that’s imperceptible but prevents quantization distortion when reducing bit depth. It’s a small detail that matters for maintaining professional quality through format conversions.

Essential Tools and Plugins for Spotify Mastering

You don’t need a million plugins to master for Spotify effectively, but certain tools make the job significantly easier.

Loudness Metering

You absolutely need a loudness meter that shows LUFS. Free options include Youlean Loudness Meter and dpMeter. Paid options like iZotope Insight or Waves WLM Plus give you more detailed analysis.

What to look for: integrated LUFS (overall loudness), short-term LUFS (moment-to-moment changes), true peak levels, and dynamic range. These metrics tell you everything you need to know about whether your master is Spotify-ready.

True Peak Limiters

Not all limiters handle true peaks correctly. I use FabFilter Pro-L 2, which has excellent true peak limiting and multiple algorithms for different material. Other solid options include Sonnox Oxford Limiter, Waves L2, and the free LoudMax.

The key is using a limiter that can prevent inter-sample peaks while maintaining transparency. Set your ceiling to -1.0 dBTP and let the limiter do its job without pushing too hard.

Reference and Analysis Tools

REFERENCE by Mastering The Mix is my go-to for A/B comparison with commercial tracks. It level-matches automatically, shows you frequency balance differences, and helps you understand where your mix sits compared to professional releases. There’s also Magic AB, which serves a similar purpose. These tools keep you honest and help you avoid the trap of mixing in a bubble.

Genre-Specific Mixing for Spotify Considerations

Different genres require different approaches when mixing for Spotify. What works for EDM doesn’t work for jazz, and what works for hip-hop doesn’t work for acoustic singer-songwriter material.

Electronic Music and EDM

Electronic genres can handle more compression and controlled dynamics. I typically aim for -8 to -9 LUFS for EDM, house, and techno—right in that competitive range. The kick and bass relationship is critical—make sure they’re not fighting in the 50-100 Hz range.

Watch out for excessive sidechain compression artifacts that can become more obvious through lossy encoding. Also, be careful with super-saw synths and dense chord stacks—they can create codec artifacts if they’re too loud in the mix. For really aggressive genres like dubstep or hardstyle, you might push to -7 or -7.5 LUFS if that extreme limited sound is part of the aesthetic.

Hip-Hop and Trap

Hip-hop needs punch. I aim for -8 to -9 LUFS, which gives you competitive loudness while preserving the impact of kick and 808 hits. The key is controlling the low end without losing weight.

Use multiband compression on the low end to tame excessive 808 slides while keeping the fundamental punchy. Make sure your vocals sit clearly on top of the beat—this is where mid-range EQ and compression become crucial. Reference heavily against current chart toppers in your specific hip-hop subgenre. Modern hip-hop is limited, but it’s limited smart—you want that controlled low end and punchy drums, not just maximum loudness.

Rock and Alternative

Rock benefits from slightly more dynamic range than pop or hip-hop, but you still want competitive loudness. I target -8.5 to -9.5 LUFS and let the choruses hit harder than the verses through arrangement and mix dynamics, not just through automation. Drums should sound live and punchy, not squashed flat. Guitar tones need to cut through without being harsh—this often means less gain and distortion than you’d think, compensated with better EQ and placement in the mix.

Singer-Songwriter and Acoustic

Acoustic music can preserve more dynamic range, but you still need to be competitive on playlists. I aim for -9 to -10 LUFS, which sounds natural and gives the performance room to breathe while still sitting well next to other tracks. The focus is on clarity, detail, and emotional impact, but that doesn’t mean your track should sound quiet. Use compression and limiting to control dynamics musically—you want consistency without making everything the same level.

Real-World Case Study: Major Label Pop Track

Let me walk you through how I approached a recent major label pop single that needed to compete on Spotify playlists.

The artist sent me a mix that was already pretty solid—produced by a talented team, mixed by an experienced engineer. But when I analyzed it, the integrated loudness was sitting at -6.2 LUFS. They’d pushed it way too hard trying to maximize loudness, and while it measured loud, it didn’t actually hit hard. The limiting was so aggressive that the kick and snare had lost their punch, the vocals sounded squashed, and the overall vibe was just flat.

Here’s what I did:

• Backed off the heavy limiting to restore some life to the mix
• Used multiband compression to control the low end and high end separately, preserving the mid-range punch where the vocals live
• Applied subtle mid-side EQ to mono the bass and add stereo width to the highs
• Limited to -8.5 LUFS integrated with -1.0 dBTP ceiling using FabFilter Pro-L 2
• Created an Ogg Vorbis preview to check for codec artifacts (found none)

The final master had better dynamic range (about 7 dB compared to the original 3 dB), significantly better transient punch, clearer vocals, and it actually felt louder and more impactful even though it measured 2.3 LUFS quieter. The limiting was working musically instead of just crushing everything.

The A&R loved it, the artist loved it, and more importantly, it performed well on streaming playlists. It sat right next to other major releases and felt just as competitive. That’s the difference between smart limiting at -8.5 LUFS and just slamming a limiter as hard as possible.

When to Get Professional Mixing and Mastering

Look, I teach this stuff for a living, but I’m also realistic. Not everyone has the time, experience, or desire to master their own music for Spotify. And that’s completely fine.

Here’s when you should seriously consider professional help:

• You’re releasing music that represents your career or brand
• You don’t have the monitoring environment to make critical decisions
• You’ve tried mastering yourself and it’s not competing with professional releases
• You want to learn what professional mastering sounds like so you can improve your own skills

I offer professional mixing and mastering services specifically optimized for Spotify and other streaming platforms. I’ve worked with major label artists including Kelly Clarkson and A$AP Rocky, and I hold Apple Digital Masters certification. Every master I deliver is optimized for streaming platforms and includes detailed quality control checks.

Check out my pricing and packages to see what option makes sense for your project. Whether you need full mixing and mastering or just mastering services, I can help you get your music Spotify-ready.

Final Thoughts on Mixing for Spotify

Mixing and mastering for Spotify isn’t rocket science, but it does require understanding how the platform processes audio and adjusting your approach accordingly. The key is finding the balance between competitive loudness and maintaining the musical qualities that make your track hit hard.

The most important takeaways:

• Master to around -8.5 LUFS integrated for the best balance of loudness and dynamics
• Always limit to -1.0 dBTP to prevent codec distortion
• Use limiting musically—the controlled, limited sound IS the sound of popular music
• Don’t chase extreme loudness (-6 or -7 LUFS) unless it’s an intentional aesthetic choice
• Test your masters on real-world playback systems, not just studio monitors
• Reference constantly against professional tracks in your genre

If you implement these techniques, your music will sound better on Spotify and compete with professional releases. It’ll translate well across different playback systems, maintain its impact through normalization, and sit properly in playlists next to major label tracks.

And if you want professional help getting your tracks to that level, I’m here for it. This is what I do every single day, and I love helping artists get their music sounding its absolute best for streaming.get their music sounding its absolute best for streaming.