Logic Pro Bounce Settings: From Mix to Mastered MP3 Without Losing the Low End
Logic Pro's Bounce dialog has 30 options that interact in non-obvious ways. Here's the bounce-and-master workflow that delivers loud, clean MP3s ready for streaming.
Sarah Chen·May 8, 2026·9 min read
Why Your Logic Bounces Sound Different on Spotify
You finished a mix in Logic Pro. Bounced to MP3 320 kbps. Uploaded to Spotify. The streaming version is quieter than your reference tracks, the kick drum lost weight, and the high-hats sound different from your monitor mix.
This isn't Spotify ruining your work. It's the gap between "bounce a track" and "bounce a mastered track for streaming." Logic's default Bounce settings produce clean files but not platform-optimized ones. The fixes: bounce to 24-bit WAV first, master with proper LUFS targeting, then encode to MP3 from the master.
This post covers the Bounce dialog options that matter, the offline processing chain that produces streaming-ready audio, and the platform-specific targets for Spotify, Apple Music, and YouTube Music. Our audio converter handles the encoding step if you want it outside Logic.
Logic Pro's Bounce dialog (File > Bounce > Project or Section) has these key options:
Option
What it controls
Destination
PCM (WAV/AIFF) and/or M4A and/or MP3
Mode
Realtime or Offline
Range
Cycle, Selection, or Project
Normalize
None / Overload Protection / On
Add to Project
Adds bounced file as new audio region
Resolution
16, 24, 32-bit float
Sample Rate
44.1, 48, 88.2, 96, 192 kHz
Dithering
None / POW-r 1, 2, 3
Surround Bounce
If multichannel
For mastered output: Offline mode, 24-bit, project sample rate (typically 48 kHz), no normalization, POW-r 2 dithering for 24-to-16-bit conversion at the end.
The Two-Stage Bounce Workflow
The mistake is bouncing directly to MP3 from the mix. The right path is two stages:
Stage 1: Bounce mix to 24-bit WAV master
File > Bounce > Project
Destination: PCM (WAV)
Mode: Offline
Resolution: 24-bit
Sample Rate: match project (usually 48 kHz)
Normalize: Off
No dithering (we're staying in 24-bit)
This produces a high-fidelity master without any final-stage processing.
Stage 2: Master in a separate Logic project
Open new Logic project
Import the WAV master
Add mastering chain to the master bus: EQ, multiband compressor, limiter
Set true peak ceiling at -1 dBTP
Target -14 LUFS integrated for streaming
Then bounce to MP3:
File > Bounce > Project
Destination: MP3
Resolution: 16-bit (MP3 is 16-bit equivalent)
Sample Rate: 44.1 kHz (CD-style for MP3)
Bit Rate: 320 kbps Stereo
Two-stage bouncing prevents Logic from applying mastering processing to the unfinished mix and gives you a master file you can re-encode to any format later.
LUFS Targeting
Streaming platforms apply loudness normalization. If your master is at -8 LUFS (loud) and Spotify's target is -14 LUFS, Spotify will turn you down by 6 dB. The relative volume vs other tracks doesn't change; the absolute volume of your track drops.
Mastering louder than the platform target is counterproductive. Loudness normalization defeats the "loudness war" race.
Platform targets:
Platform
Integrated LUFS
True peak ceiling
Spotify
-14
-1 dBTP
Apple Music
-16
-1 dBTP
YouTube Music
-14
-1 dBTP
Tidal
-14
-1 dBTP
Amazon Music HD
-14
-2 dBTP
SoundCloud
-8 to -14
-1 dBTP
Master to -14 LUFS for the broadest streaming target. Apple Music will turn you up slightly (a benefit). Tidal, Spotify, and YouTube treat you correctly.
For tracks that "feel quiet," it's not the file. It's the mix. Reduce midrange masking, push transients (snare, kick attack), reduce sub-bass that doesn't translate. The track will feel louder at the same LUFS.
Logic's Mastering Tools
Logic ships with these mastering-relevant plugins:
ChannelEQ: 8-band parametric EQ
Compressor: 7 compressor types including SSL-style and Vintage VCA
Multipressor: 4-band multiband compressor
Limiter: brickwall limiter with output ceiling
Linear Phase EQ: phase-coherent EQ for mastering
Adaptive Limiter: gentler limiting
For mastering chain, the Logic stock plugins are sufficient for most music:
Channel EQ (broad cuts and lifts)
↓
Linear Phase EQ (precise corrective work)
↓
Multipressor (4-band gentle compression)
↓
Compressor (Vintage VCA setting, 2-3 dB GR on busy parts)
↓
Limiter (output -1 dBTP, gain to hit -14 LUFS integrated)
Set the limiter's output ceiling first (-1 dBTP). Adjust gain into the limiter to hit your target LUFS.
Pro Tip: Logic's built-in Loudness Meter (Mixer > Audio FX > Metering > Loudness Meter) shows integrated LUFS in real-time. Run a full pass with the meter; the integrated number at the end of the track is your target.
MP3 Encoder Settings in Logic
When bouncing to MP3 in Logic:
Bit rate
Use case
128 kbps
Audio book / voice
192 kbps
Adequate for music
256 kbps
Standard for music delivery
320 kbps CBR
Highest legal MP3 quality
VBR (Variable)
High quality with smaller files
For final delivery: 320 kbps CBR. The 5% file-size saving of VBR isn't worth the slightly less predictable bitrate behavior on older players.
Logic uses LAME for MP3 encoding internally. The output is identical to LAME-encoded MP3 from any other source.
Multi-Format Bounce
Logic Pro can bounce to multiple formats simultaneously. Check both PCM and MP3 in the Bounce dialog. Logic produces a .wav and .mp3 of the same content in one operation.
For album projects: bounce to PCM 24-bit (master) plus MP3 320 (delivery preview). Saves time vs two separate bounces.
For other audio formats Logic doesn't bounce directly (FLAC, Opus): bounce to WAV first, then convert through our audio converter.
Sample Rate Conversion
If your project is 48 kHz but you need 44.1 kHz output (CD-style MP3 distribution):
Logic's Bounce dialog has a Sample Rate selector. Set to 44.1 kHz. Logic resamples during the bounce. Quality is acceptable for one resample pass.
For the cleanest possible resample, bounce at 48 kHz and resample externally with iZotope RX, R8brain, or Reaper's resampler. The difference is small but measurable.
Logic Pro's Bounce dialog has fields for Title, Artist, Album, Year, Genre. These embed in the MP3 as ID3 tags.
For album projects with consistent metadata, set the project's Movie Title and Artist in Project Settings before bouncing. Each track's bounce inherits these.
For more complete metadata (album art, track number, lyrics, BPM), use a tag editor like Mp3tag or Tag Editor on Mac after bounce.
Common Issues
Bounce sounds different than playback: bounce engaged a plugin that wasn't engaged in playback (often a master bus plugin). Verify all plugins are active in playback. Listen back via the bounced file.
Loud peaks despite limiting: the limiter's true peak detection isn't catching inter-sample peaks. Add a brick-wall limiter with a Lookahead setting before the final limiter. Set output ceiling to -1.5 dBTP to be safe.
MP3 file sounds compressed in transients: 320 kbps CBR is the highest MP3 quality. Compression artifacts in transients are MP3's inherent limitation. Deliver lossless (FLAC, ALAC) for audiophile destinations; MP3 is for streaming and casual listening.
Bounce takes hours: realtime mode is on. Switch to Offline mode in the Bounce dialog. Offline is 5-50x faster depending on plugin complexity.
Output bitrate doesn't match setting: you bounced to MP3 from a non-44.1 kHz source. MP3 supports 32, 44.1, 48 kHz. The encoder may downsample or up-sample silently.
Yes. Add dithering (POW-r 2 or POW-r 3) to the master bus when going from 24-bit to 16-bit. Dithering masks quantization noise that becomes audible in dropouts.
Can Logic bounce to FLAC?
Not directly. Bounce to 24-bit WAV, then convert to FLAC using XLD (Mac, free), our audio converter, or FFmpeg.
What about Apple Lossless (ALAC)?
Logic bounces to M4A which can be ALAC or AAC depending on the codec setting. In the Bounce dialog under M4A: choose "Lossless" for ALAC or "AAC" for lossy AAC.
How do I master to -16 LUFS for Apple Music?
Same chain, lower the limiter input by 2 dB to drop the integrated LUFS by 2. Use Logic's Loudness Meter to verify the actual integrated number.
Can I bounce stems for collaborator or remixer?
File > Bounce > Track-by-Track exports each track as a separate file. Use this for delivering stems. Set output to 24-bit WAV at project sample rate. No mastering chain on stems; deliver them flat.
Why is my project so quiet at -14 LUFS?
That's the new normal. Older mastering targets were -8 to -10 LUFS. Streaming platforms now normalize, so the loudness war is mostly over. Trust the LUFS meter; the result is appropriately loud relative to other modern releases.
For Logic Pro masters: bounce mix to 24-bit WAV (no normalization, no dither), master in a separate project to -14 LUFS / -1 dBTP, bounce master to MP3 320 CBR. Use Logic's Loudness Meter for LUFS targeting. Our audio converter handles FLAC, ALAC, Opus output if Logic's bounce dialog doesn't reach the format you need.
Logic ProbouncemasteringMP3audio export
About the Author
Sarah Chen
Technical writer specializing in multimedia formats and digital workflows. Covers file conversion, video encoding, and document processing.
