LUFS Loudness Calculator
Calculate how many LUFS of gain adjustment your audio needs to meet broadcast or streaming standards, and flag true-peak or dynamic-range compliance issues. Use it before mastering or submitting audio for delivery.
About this calculator
LUFS (Loudness Units Full Scale) is the international standard for measuring perceived loudness, defined in ITU-R BS.1770. Streaming platforms and broadcasters set specific integrated loudness targets: Spotify targets −14 LUFS, Apple Music −16 LUFS, and EBU R128 (broadcast) targets −23 LUFS. This calculator computes a total correction score: score = |currentLUFS − targetLUFS| + peakPenalty + dynamicRangePenalty. The peak penalty is |peakLevel + 1| when the true peak exceeds −1 dBTP (the common maximum). The dynamic range penalty is max(0, 14 − dynamicRange) × 0.5, flagging over-compression when dynamic range falls below 14 LU. A score of 0 means the file fully complies; any positive value indicates the magnitude of corrections needed across loudness, peak, and dynamics simultaneously.
How to use
Suppose your master measures −10 LUFS, has a true peak of 0 dBTP, and a dynamic range of 10 LU. You are targeting Spotify (−14 LUFS). Step 1 — loudness gap: |−10 − (−14)| = 4. Step 2 — peak penalty: 0 dBTP > −1 dBTP, so |0 + 1| = 1. Step 3 — dynamic range penalty: max(0, 14 − 10) × 0.5 = 4 × 0.5 = 2. Total score = 4 + 1 + 2 = 7. This tells you the file needs roughly 4 LU of gain reduction, true-peak limiting below −1 dBTP, and some dynamic range restoration before submission.
Frequently asked questions
What LUFS target should I use for Spotify, YouTube, and broadcast delivery?
Spotify normalizes to approximately −14 LUFS integrated, YouTube to −14 LUFS, Apple Music to −16 LUFS, and Tidal to −14 LUFS. Broadcast standards are stricter: EBU R128 targets −23 LUFS for European television, and ATSC A/85 targets −24 LUFS for North American broadcast. Submitting audio louder than the platform target does not make it louder for listeners — the platform turns it down — but it can degrade dynamics. Submitting quieter audio is also acceptable on most platforms, as no upward normalization is applied.
Why does true peak level matter when submitting audio to streaming platforms?
True peak measures inter-sample peaks — distortion that occurs during digital-to-analog conversion even when sample values appear safe. A sample-accurate peak of −1 dBFS can become a true peak above 0 dBTP after reconstruction filtering, causing audible clipping on playback devices. Most streaming platforms require true peaks no higher than −1 dBTP, and broadcast standards often require −2 dBTP or lower. Using a true-peak limiter in your mastering chain ensures the file remains clean after the codec encoding that platforms apply, which can itself raise true-peak levels slightly.
How does dynamic range affect perceived audio quality in a mastered track?
Dynamic range, measured in Loudness Units (LU), is the difference between the quietest and loudest moments in a track. A higher dynamic range preserves musical expression — soft passages feel soft and loud passages hit hard. Heavy compression and limiting squeeze dynamic range below 8–10 LU, making tracks sound fatiguing over extended listening. The penalty in this calculator activates when dynamic range drops below 14 LU, reflecting best-practice mastering guidelines. Improving dynamic range typically means reducing the gain-reduction depth on limiters and compressors rather than simply turning the overall level down.