A louder file isn't automatically a better track. The useful question is whether it plays at a sensible level without sacrificing the sound.
Level is not quality.
LUFS is a measure of loudness. Integrated LUFS summarizes a program over its duration; peak measurements describe the highest levels. They answer different questions. Two tracks with similar integrated loudness can still feel different because their bass balance, arrangement and dynamics differ.
Before you bin it, check the level.
In a DJ's working folder, a severely quiet or loud copy may be heading for the recycle bin anyway. A poor conversion or accidental gain change can leave usable music awkwardly leveled. Measurement and a careful gain adjustment can give that file another chance.
Do not assume every quiet track is a bad copy. It might simply have more dynamics, a long quiet introduction, or a different mastering approach. Listen before changing it.
Turning it up is not mastering.
Record Knife's loudness adjustment changes gain. It is not a limiter or automatic mastering engine. Raising gain also raises peaks and noise; if the output exceeds its available headroom, clipping can result.
Punch matters.
Heavy limiting can reduce the contrast between drum attacks and the rest of the track. A file may measure louder while losing the sense of impact you liked. Turning a clipped file down does not restore its missing peaks.
A practical DJ check.
- Keep an untouched original or backup.
- Measure, then compare by ear with a few familiar tracks.
- Make a modest adjustment only when needed.
- Check the output for peaks, clipping and audible damage.
- Audition the exported file before using it in a set.
There is no single perfect LUFS target for every genre and set. The goal is usable, consistent playback—not winning a loudness contest.
Technical reference: FFmpeg loudness measurement and normalization documentation. This explains the measurement tool; it does not mean Record Knife applies that filter as a mastering processor.