Logic Pro Bounce Settings: From Mix to Mastered MP3 Without Losing the Low End

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.

The Bounce Dialog Anatomy

Logic Pro's Bounce dialog (File > Bounce > Project or Section) has these key options:

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

1. File > Bounce > Project
2. Destination: PCM (WAV)
3. Mode: Offline
4. Resolution: 24-bit
5. Sample Rate: match project (usually 48 kHz)
6. Normalize: Off
7. 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

1. Open new Logic project
2. Import the WAV master
3. Add mastering chain to the master bus: EQ, multiband compressor, limiter
4. Set true peak ceiling at -1 dBTP
5. Target -14 LUFS integrated for streaming

Then bounce to MP3:

1. File > Bounce > Project
2. Destination: MP3
3. Resolution: 16-bit (MP3 is 16-bit equivalent)
4. Sample Rate: 44.1 kHz (CD-style for MP3)
5. 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:

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.

MP3 Encoder Settings in Logic

When bouncing to MP3 in Logic:

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.

For background on sample rate, see Audio Bitrate Quality Guide.

Adding Metadata

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.

For background on audio file format choices, see Audio Format for Streaming Services.

Frequently Asked Questions

Should I dither when bouncing to 16-bit?

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.

Related Reading

• Audacity Export Settings
• Audio Bitrate Quality Guide
• Audio Format for Streaming Services

Bottom Line

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.