Mastering Techniques for Online Distribution

In 2022, mastering for online distribution requires setting safe output limits to avoid distortion and aligning headroom with signal smashing.

### Strategies for Setting Safe Ceiling Levels in Mastering for Online Distribution
* 🔊 Setting a safe ceiling level for mastering is a complex topic with **no one-size-fits-all answer**, as it depends on various factors related to the mix and its intended use.
* 📏 Over the years, the trend for ceiling levels has shifted from **-0.2 to -1 dBFS**, with the norm increasingly being around **-1 dBFS**.
* 🎚 It's crucial to do all **limiting and sample rate conversion in 32-bit floating point** and leave enough **headroom to avoid overshoots**.
* 🔧 Reasons for always setting the output level lower than 0 dB include **sample rate conversion**, **dithering to 16-bit**, and **peak levels rising when converting masters to lossy formats like MP3 or AAC**.
* 📊 Using tools like the "**Dorrough Mark II meter**" can help intuitively monitor **headroom** and control **overshoots**.
* 🛡 Limiting is not meant to make the mix louder but to prevent distortion, acting as a **safety mechanism**.
* 🎯 When setting the threshold on a limiter like "Sonic's Oxford Limiter," it's common to aim for around **-0.3 dB**, with an additional output trim reduction of **-0.3 dB** to achieve an overall headroom of **-0.4 to -0.5 dB**.
* 🎧 To ensure the master doesn't clip after encoding for online distribution, it's recommended to use a codec like **"Sonic's Fraunhofer Codec"** to check for **potential distortion**.

hey guys, Tim here from Boogie Snail Mushroom. Hope you're having a great day. So, in 2022, all masters eventually hit the codec for online distribution. So, one may ask, what would be a safe limited ceiling then? In this video, I'm showing you my way to approach this issue. So, before we start, please remember, if you have a mix that you need mastered, request a quote at bsmushroom.com and receive 50% off your first order. I would also very much appreciate it, guys, if you subscribe and hit the notification bell to support my channel. And now, let's get to the video. [Music] It doesn't matter what someone advises you to do. Set your limit in selling to zero dB or minus 0.1 dB or set it to minus 1 dB. You may ask five different people and get different answers, and maybe all of them are wrong, and sometimes all of them are right. The topic is really complex because it depends on so many factors, especially what you do with your mix and what it is.

for so rule number one don't ask what to do, and instead ask why to do. This is very important. Over the years, I have moved from minus 0.2 to minus 0.3 to minus 0.5, and now even to minus 1 dBFS. It, of course, depends on the project, but that's becoming more of the norm now. You need to know that as a must, and it's been always this way. I do all the limiting and sample rate conversion in 32-bit floating point, and I leave enough headroom to avoid, always after a simple rate conversion. I only did the to 24 bit or 16 bit at the very last step when no more processing is needed, including fades, crossfades, gain changes, or any plug-in processing. So, you have to remember that there are several reasons why we may have always, even if we set the limit output level from minus 0.1 to minus 0.5 dB. So, the first reason is the sample rate conversion because we may not live enough headroom that can create

always when we convert from a higher sample rate to 44.1 second, our reason is when we are dithering to 16 bit. Before the sample rate conversion, this way, we are opening a can of worms. Third reason is because Peak levels rise again when the master waves are converted to MP3 or AC or other lossy formats. Now let me show you guys what tools I use to properly control these overshoots. So, my first tool is my diameter Mark II, which literally helps me live inside the mix Headroom. With this meter, I intuitively feel how much space I have to play with by setting my personal Target loudness level and the true Peak a threshold. I can easily check and control overshoots. The meter, of course, works well in combination with various limiters. Today I will show you how it works with Sonic's Oxford limited, which is one of my favorite digital limiters. And please note that limiting is not meant to make things louder. It is a way to stop always that would create distortion.

it's a safety mechanism. Now, as for the Sonic's limiter, usually I set my threshold at a minus 0.3 dB. It means that the limiter will start working at minus 0.3 dB. It is very close to the ceiling, and we will have the action depending on how hard our signal is pushing against the ceiling. It depends on the structure of our input signal, of course. In any case, we will definitely have some overs. Therefore, additionally, I set the output trim reduction at minus 0.3 dB also. Now, theoretically, we should have minus 0.6 dB in overall, but since we will again have some occasional overshoots, which is normal, we will finally end up with minus 0.5 or minus 0.4 dB of Headroom. Now, let me show you how it works in practice. So, and now let me play this track, but with no sound, just for you to see what is happening. Um, now, what I'm gonna do, I start cranking up the input so far that

occasionally hit against my virtual ceiling and control it on my meter. I don't want to see Red Zone, uh, always constantly. I hope you get the point. At the same time, I control that the highest peaks I'm hitting on my limiter should be no more than 2 DB of gain reduction. As you can see now, I'm around minus 12 laughs on my meter. It is my target loudness for online distribution. And if it is for online distribution, there's no reason to cranking up further. It makes no sense at all. So to have minus 0.4 minus 0.5 DB output level is a very good orientation. What I want to tell you is that the Headroom you apply for your final Master always needs to be aligned with how hard you smash your signal against the ceiling, and it is therefore very crucial to control your Peak structure properly. In 2022, all our masters finally hand on for encoding and online distribution. That is why finally I use Sonic's Fraunhofer codec to check and see if my

final wave Master is going to clip. After mp3 or AC encoding, I can load in up to five different codecs and compare them by toggling the monitor. I see here the potential distortion when I have a hot Master. Once I don't see always here, I'm good off, and I just I just want to be sure that my master sounds great at 256 AC resolution. Lower quality is up to the customer.

Safe limiter ceiling in mastering

Boogie Snail Mastering

Tips for Setting the Right Mastering Ceiling

Setting the mastering ceiling is a complex decision that depends on various factors in the mix.

It's important to focus on why you are choosing a certain limit rather than what others advise.

The trend is now moving towards setting the limit to as low as minus 1 dBFS to allow for more headroom and avoid clipping.

Sample rate conversion and having enough headroom are crucial reasons for setting the output level, regardless of the specific dB chosen.

1 sample rate is often done when dithering to 16 bit, leading to increased peak levels.

The Diameter Mark II meter helps control overshoots by setting a personal target loudness level and true peak threshold.

Using Sonic's Oxford limiter with a threshold of -0.

3 dB and output trim reduction helps create an overall -0.

4 dB of headroom to manage occasional overshoots.

It's important to control peak levels to avoid constantly hitting the virtual ceiling and stay within 2dB of gain reduction.

A target loudness of around -12 LUFS is ideal for online distribution, without the need to crank up further.

The application of headroom in the final master should be aligned with the signal's peak structure to ensure proper control and is crucial for encoding and online distribution in 2022.

Comparing Codecs for Master Audio at 256 AC Resolution

The final wave Master is about to be clipped, and the user plans to load up to five different codecs for comparison.

There is a concern about potential distortion with a hot Master, but the main focus is to ensure the master sounds great at 256 AC resolution.

Lower quality is considered acceptable for the customer's needs.