WAV vs MP3 vs AIFF: Which Format to Export

This is the most important decision, and the answer is not complicated: always export as WAV or AIFF for mastering. Never send an MP3 to mastering.

WAV and AIFF are uncompressed, lossless formats. They preserve every sample of audio data exactly as your DAW rendered it. There is no quality loss, no frequency content removed, no artifacts introduced. WAV is the industry standard and works on every platform and operating system. AIFF is functionally identical but slightly more common in Apple-centric workflows.

MP3 is a lossy format. It achieves smaller file sizes by permanently discarding audio data that its algorithm considers less audible. Even at 320 kbps (the highest standard MP3 bitrate), the encoder has thrown away detail it judged inaudible and introduced subtle artifacts, and at lower bitrates it typically cuts the top end above about 16 kHz as well. Mastering cannot recover this lost data. If you master an MP3, you are mastering a degraded version of your mix, and the result will carry those artifacts into the final product.

Rule of thumb: Export WAV for mastering. Save MP3 for the final delivery format if a specific platform requires it. The mastering process itself should handle the conversion from lossless to lossy when needed.

FLAC is a lossless compressed format that some mastering services accept. It is bit-for-bit identical to WAV after decompression, just smaller in file size. If your mastering platform supports FLAC uploads, it is a perfectly acceptable alternative to WAV.

Bit Depth: 16-Bit vs 24-Bit vs 32-Bit Float

Bit depth determines the dynamic range and precision of your audio file. Higher bit depth means more resolution and less quantization noise in quiet passages.

The practical difference between 24-bit and 32-bit float is small for most material, but 32-bit float provides a safety net: even if your mix accidentally peaks above 0 dBFS, the data is preserved and can be recovered during mastering. With 16-bit or 24-bit integer files, anything above 0 dBFS is hard-clipped and permanently distorted.

Sample Rate: 44.1 kHz, 48 kHz, or Higher?

The sample rate determines the highest frequency your audio file can represent. By the Nyquist theorem, a file can accurately capture frequencies up to half its sample rate. A 44.1 kHz file captures up to 22.05 kHz. A 48 kHz file captures up to 24 kHz. A 96 kHz file captures up to 48 kHz.

Human hearing tops out around 20 kHz (less as you age), so 44.1 kHz is theoretically sufficient for all audible content. However, higher sample rates provide benefits during processing:

Critical rule: Always export at your session's native sample rate. Never upsample (for example, converting a 44.1 kHz session to 96 kHz before mastering). Upsampling does not add real frequency content. It just creates a larger file with interpolated data that provides no benefit to the mastering process.

Headroom: How Much Space to Leave

Headroom is the difference between the loudest peak in your mix and 0 dBFS (the digital ceiling). Leaving headroom gives the mastering engineer room to apply EQ, compression, and limiting without immediately clipping the signal.

The standard recommendation is 3 to 6 dB of headroom, meaning your loudest peak should sit between -6 dBFS and -3 dBFS. Here is how to achieve that:

If you are exporting as 32-bit float, headroom is technically less critical because values above 0 dBFS are preserved. However, leaving 3 to 6 dB of headroom is still good practice because it prevents any unintentional distortion from plugins in your master bus chain that might not handle overs gracefully.

Dithering: When and How to Apply It

Dithering is the process of adding a tiny amount of shaped noise to an audio signal when reducing bit depth. It prevents quantization distortion, which manifests as a gritty, digital-sounding noise floor in quiet passages.

Here is when to apply dithering:

Professional mastering platforms like LuvLang handle dithering automatically when you export to a lower bit depth. You do not need to think about it during export if you are using an online mastering service.

How to Set This in Your DAW

Menu names shift a little between versions, but these are the settings to look for. In every case: turn off any limiter or maximizer on the master bus first.

After exporting, open the file and check the peak meter. If peaks are above about -3 dBFS, lower the master fader and export again.

The Complete Export Checklist

Before you bounce your mix for mastering, run through this checklist:

  1. Format: WAV (or AIFF). Never MP3.
  2. Bit depth: 24-bit or 32-bit float. Never 16-bit for mastering input.
  3. Sample rate: Your session's native rate (44.1 kHz, 48 kHz, or whatever you recorded at). Never upsample.
  4. Headroom: Peaks between -6 dBFS and -3 dBFS.
  5. Master bus: Limiter and maximizer bypassed or removed.
  6. Dithering: Off. The mastering stage handles this.
  7. Stereo interleaved: Export as a single stereo file, not split mono files (unless your mastering service specifically requests stems).
  8. Tail: Leave a second or two of silence at the end so reverb and delay tails decay naturally rather than being cut off.

Follow this checklist every time and you will deliver a mastering-ready file that gives the processing chain the best possible starting point.

Export Settings After Mastering

Once your track is mastered, the final export format depends on where the music is going:

A good mastering platform gives you multiple export options so you can download the right format for each destination from a single mastering session. LuvLang supports WAV, FLAC, MP3, and AAC exports at multiple bit depths and sample rates, with automatic dithering applied where appropriate.

Check your track free: measure its LUFS and true peak and see what Spotify, Apple Music, YouTube and 5 more platforms will do to it. Open the free LUFS checker →

Next: check your bounce with the free LUFS checker and the dynamic range checker. For the loudness targets each platform uses, see Mastering for Streaming.

FAQ

What bit depth should I export for mastering?

24-bit WAV, or 32-bit float if your DAW offers it. 32-bit float also preserves anything that accidentally goes over 0 dBFS. Don’t export 16-bit for mastering; save 16-bit for the final delivery if it’s needed.

What sample rate should I export at?

The same rate your session runs at, usually 44.1 kHz for music or 48 kHz for video. Don’t upsample a 44.1 kHz session to 96 kHz; it adds file size, not audio.

Should I export 16-bit or 24-bit for Spotify?

Send your distributor a 24-bit WAV if it accepts one (many do, and Apple recommends 24-bit masters). If it only takes 16-bit, export 16-bit 44.1 kHz with dither. Spotify creates its own streaming files either way.

Is 32-bit float better than 24-bit for mastering?

For audio quality the difference is tiny, but 32-bit float can’t clip inside the file, so it’s a useful safety net if your mix peaks above 0 dBFS. Use it if your DAW and mastering service support it.

Should I normalize or dither when exporting for mastering?

No to both. Normalizing pushes your mix up to full scale and removes headroom, and dither should only be applied once, at the very end, when the master is reduced to 16-bit.