Music Mastering Online — AI Master

Both normalize to about −14 LUFS integrated, so mastering to −14 LUFS with a −1 dBTP true-peak ceiling is the safe modern standard. This tool’s “Spotify / YouTube” target does exactly that; a single −14 master also plays well on Apple Music and Tidal.

The continuous waveform a player reconstructs can peak higher than the stored samples (inter-sample peaks). A −1 dBTP ceiling leaves headroom so your track doesn’t clip after lossy encoding to MP3/AAC. The limiter here measures true peak with 8× oversampling to hold that ceiling.

Upload a song whose sound you want. The tool analyzes its tonal balance across frequency bands and its stereo width, then nudges your track toward that character before setting the final loudness. It matches the vibe — it does not copy the reference’s audio.

No — the loudness-matched A/B lets you hear tone and dynamics without the “louder sounds better” bias, and a dynamics guard warns you when an aggressive target would over-compress a very dynamic track, stopping short of crushing it.

Mostly the level, and that is less of a letdown than it sounds. The track is brought to streaming loudness — around −14 LUFS for Spotify and YouTube, a different target for Apple — with a limiter that keeps true peaks safe so nothing distorts when the platform re-encodes it. The A/B comparison plays the original and the master at matched loudness, which is the only honest way to hear what changed: at unmatched levels the louder one always sounds better, and that is how people talk themselves into masters that are too hot.

Pick “44.1 kHz (CD)” and WAV 16-bit in the download block — you get a CD-quality WAV at exactly 1411 kbps, the standard streaming distributors ask for. The conversion runs through a studio-grade polyphase resampler with over 90 dB of alias rejection, not naive interpolation. By default the source sample rate is kept.