Well, the title speaks for itself. I usually peak at -6RMS for master

 

commercial sound: -9 LUFS on normal beat, -6 on drop and stuff
for future use do second master K20 -20 RMS

 

Last edited: Sep 24, 2016

If you target streaming services ~ 14 LUFS Integrated.

Big systems that are not being run by morons usually hit hardest between -20 -> -16 ( movie theater bass is -21)

 

"for future use do second master K20 -20 RMS"

I'm not sure what that is......K20?

 

-5 In the drop/Climax , etc
or -3 as many commercial stuff

check out this page (the DR in a lot of tracks): http://dr.loudness-war.info/album/list?artist=Daft+Punk&album=

 

http://www.aes.org/technical/documentDownloads.cfm?docID=65

http://www.digido.com/how-to-make-better-recordings-part-2.html

 

Knife Party hits at -2/-3RMS and the same for DR -2 or -3, and they sound clean as fuck. <3

 

https://en.wikipedia.org/wiki/K-system

Also, K-20 is p.quiet.

 

Loudness =/= SPL

K20 is aimed at BIG SYSTEMS with BIG AMPS and BIG DRIVERS.

On a system that can push out enough SPL to make you sterile for life, -2,-3,-4 will sound smaller than something that actually moves a lot of air. You should target your loudness by distribution media and intended target system. Keep in mind normalization on some distribution channels, and always do what sounds best to you with what you know and how you like to hear it.

In the end it is your music and if it is really good, none of this stuff is going to matter. Plus if you are trying to break in, it's 90% hustle 10% talent. Being good is just not enough anymore, unless you are either super exceptional (in which case fitting in doesn't matter) or extremely lucky ( same as before.)

 

-5rms for melodic stuff. -3rms for everything else.