LUFS Loudness Calculator

Frequently Asked Questions

What gain change hits a target LUFS?

Gain (dB) = target LUFS − measured integrated LUFS. If a master reads −18 LUFS and the target is −14, apply +4 dB. Adjust gain, not just a limiter, to keep dynamics natural.

What LUFS should I master to for streaming?

Spotify, Apple Music and YouTube normalize toward roughly −14 LUFS integrated. Mastering much louder than that gets turned down on playback, often with reduced dynamics and no real loudness gain.

What is true-peak headroom?

True peak measures inter-sample peaks. Most platforms recommend a ceiling of −1 dBTP to avoid clipping in lossy codecs. Headroom is the gap between your loudest true peak and 0 dBTP.

Why use LUFS instead of peak or RMS?

LUFS models perceived loudness with frequency weighting and gating, so it matches how listeners and streaming normalization actually judge level - far better than peak meters or simple RMS.

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Estimates for informational purposes only.

Important Disclaimer: Estimates for informational purposes only.

This calculator provides estimates for informational purposes only. Results are based on assumptions and may not reflect actual outcomes. Consult qualified professionals in relevant fields before making important decisions based on these results.

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How This Calculator Works

Streaming platforms normalise every track to a reference loudness measured in LUFS (Loudness Units relative to Full Scale). If you master too loud, the platform turns you down and you lose dynamic range for nothing; too quiet and you may get turned up or just sound weak. This calculator tells you the exact gain change in decibels needed to move a measured integrated LUFS to your target, then checks whether applying that gain would push the true peak past your chosen ceiling - the headroom check that prevents inter-sample clipping after lossy encoding. The loudness war taught a generation of engineers to push every master as hot as possible, but loudness normalisation has quietly made that strategy counter-productive: a hyper-compressed master is simply turned down to the same playback level as a dynamic one, often sounding flatter for the trouble. Knowing the precise gain move and whether it fits under the peak ceiling lets you deliver at the right level deliberately instead of by ear-fatigued guesswork.

Formula / Method

LUFS, like dB, is logarithmic, so a gain change and a loudness change are the same quantity: to go from a measured loudness M to a target T you simply apply gain = T − M decibels (negative means attenuate). Because peaks scale with the program by the identical gain, the projected true peak is new true peak = measured true peak + gain dBTP. The headroom test is then just whether that projected peak stays at or below your true-peak ceiling (commonly −1 dBTP for lossy delivery).

Worked Example

A master reads −9 LUFS integrated with a true peak of −0.3 dBTP, and you want −14 LUFS for streaming. Gain = −14 − (−9) = −5 dB, so turn the master down 5 dB. The projected true peak becomes −0.3 + (−5) = −5.3 dBTP - well under a −1 dBTP ceiling, so no clipping risk. Now suppose the target were −7 LUFS instead: gain = −7 − (−9) = +2 dB, projected peak −0.3 + 2 = +1.7 dBTP, which exceeds −1 and would clip; you would need a true-peak limiter to reach that loudness safely.

Common Mistakes

Confusing momentary or short-term LUFS with integrated LUFS - platform targets refer to the integrated value.

Assuming louder masters win on streaming; they are turned down to the same loudness, often sounding flatter.

Ignoring true peak and using sample peak; inter-sample peaks can clip after MP3/AAC encoding even at 0 dBFS sample peak.

Applying gain that pushes peaks over the ceiling without a limiter, then wondering why the encode distorts.

Targeting one number for every platform - references differ, so master for the dynamics and let normalisation handle level.

Tips & FAQ

What target should I use? Around −14 LUFS integrated is a common streaming reference; podcasts often aim near −16 LUFS; check each platform's current spec. Why a −1 dBTP ceiling? Lossy codecs add inter-sample overshoots, so leaving 1 dB of true-peak headroom prevents post-encode clipping. Should I just maximise loudness? No - on a loudness-normalised platform a quieter, more dynamic master often sounds better after the platform matches levels. What if I need both loud and clean? Use a true-peak limiter to gain up while holding the ceiling, accepting the dynamic-range trade-off; this tool flags when a limiter is unavoidable. Treat the figures as a mastering guide, not a substitute for metering the final encode.

Frequently Asked Questions

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