Loudness maximization is a chain of stages that each trade dynamics for loudness with characteristic artifacts

Pushing a mix louder proceeds through stages, each buying perceived loudness at the cost of dynamics and introducing its own side effects. Full-band peak limiting is fast-acting gain reduction that stops peaks dead at a target ceiling (e.g. -1 dBFS) while leaving the rest of the dynamic range comparatively unscathed; at high gain reduction it causes pumping, transient/attack softening, bass distortion, and reduced drum level. Multiband compression/limiting distributes gain reduction across frequency bands, so bass-triggered reduction no longer ducks the midrange, allowing greater loudness before pumping becomes audible — but it risks tonal shifts as spectral content changes between sections and can iron out section contrasts. Subtle valve/tape/transformer distortion adds density and apparent loudness with little peak increase, at the cost of harshness, sibilance, and veiled midrange. Parallel compression before limiting reduces how much peak limiting is needed. The goal is to match commercial loudness while minimizing fatigue artifacts; reference against released masters at matched subjective loudness to judge where to stop.

Examples

A full-band brickwall limiter pushed ~6 dB causes audible pumping on bass hits and loses kick/snare attack; splitting into a two-band limiter (low band handled separately) reaches the same perceived loudness with no pumping. Adding a multiband stage buys loudness but can shift the tonal balance as instrumentation changes between sections.

Assessment

Describe the stages of loudness maximization (full-band limiting, multiband, distortion) and a characteristic side effect of each. Explain one technique that achieves greater loudness before pumping appears, and how you decide when to stop.