Drop your track. Get your integrated LUFS, true peak, and dynamic range — plus a simulation of exactly how loud your song plays on Spotify, Apple Music, TikTok, and 7 more platforms after normalization.
ITU-R BS.1770-4 · 10 platforms · True Peak · Dynamic Range · No upload
Every major platform uses loudness normalization. Here is what each platform targets and what it means for your master.
| Platform | LUFS Target | True Peak | Note |
|---|---|---|---|
| Spotify | -14 LUFS | -1 dBTP | Normalizes to -14 LUFS. Loud masters are turned down, not up. |
| Apple Music | -16 LUFS | -1 dBTP | Sound Check targets -16 LUFS. More headroom for dynamic masters. |
| YouTube | -14 LUFS | -1 dBTP | Normalizes to -14 LUFS integrated. Video loudness also depends on content. |
| TikTok | -14 LUFS | -1 dBTP | Phone speaker optimization. Sub-bass below 60 Hz is lost. |
| SoundCloud | -11 LUFS | -0.5 dBTP | Louder target (-11 LUFS) + 128kbps transcoding. Most permissive. |
| Audiomack | -13 LUFS | -0.5 dBTP | Hip-hop & Afrobeats platform. Slightly louder than Spotify. |
| Beatport | -9 LUFS | -0.3 dBTP | No normalization. DJ platform. Master loud for club playback. |
| Bandcamp | -14 LUFS | -1 dBTP | No normalization. Lossless FLAC. Audiophile listeners value wide dynamics. |
| Amazon Music | -14 LUFS | -1 dBTP | HD and Ultra HD formats. Detailed listening environment. |
| Deezer | -15 LUFS | -1 dBTP | HiFi lossless. Slightly below Spotify target. |
Spotify normalizes all tracks to -14 LUFS integrated loudness. If your master is louder than -14 LUFS, Spotify turns it down. If it's quieter, Spotify plays it at the original level. The sweet spot for Spotify is -14 LUFS with -1 dBTP true peak — you get the full dynamics you mastered without any gain reduction.
Integrated LUFS (Loudness Units relative to Full Scale) is the overall average loudness of a track, measured over its full duration using K-weighting filters as specified in ITU-R BS.1770. It's the standard that streaming platforms use for normalization. LUFS is more perceptually accurate than peak level (dBFS) because it accounts for how human hearing perceives loudness.
True peak (dBTP) measures the highest peak level including inter-sample peaks — peaks that occur between digital samples and can cause clipping during format conversion. Most streaming platforms require true peak below -1 dBTP or -2 dBTP. A track that looks safe at -0.1 dBFS might actually have inter-sample peaks that exceed 0 dBFS after codec conversion.
If your master is above -14 LUFS, Spotify turns it down by the difference. For example, if you master to -9 LUFS, Spotify turns it down by 5 dB. You don't gain loudness — you lose dynamics. A well-mastered track at -14 LUFS sounds just as loud as an over-limited track at -9 LUFS after normalization, but the -14 LUFS version has more dynamic contrast and sounds less fatiguing.
No. Your audio file is decoded and analyzed entirely in your browser using the Web Audio API. Nothing is uploaded. The analysis runs locally on your device and the result is displayed immediately. No account required.
EBU R128 / ITU-R BS.1770-4 compliant processing chain
We measure integrated LUFS using K-weighted filtering per ITU-R BS.1770-4: a high-shelf pre-filter at 1681.97 Hz (+3.9998 dB gain) followed by a 75 Hz high-pass (Q=0.5) to remove DC offset and low-frequency rumble. The mean square of the filtered signal gives us integrated loudness in LUFS.
True peak (dBTP) is measured at 4× oversampling to detect inter-sample peaks that occur between digital samples. Sample-peak measurement alone misses these peaks, which cause audible clipping during AAC and MP3 lossy encoding on streaming platforms. We enforce the true peak ceiling at -1 dBTP for all standard platforms.
Genre EQ profiles apply frequency-specific gain based on each genre's sonic characteristics: mud reduction at 250–400 Hz for hip-hop and trap, presence enhancement at 2–4 kHz for vocal clarity on phone speakers, sub-bass high-pass at 30–35 Hz for all genres to remove inaudible subsonic content that wastes headroom.
Master bus compression uses a VCA-style algorithm with genre-tuned attack and release times. Lo-fi and jazz use 50 ms attack to preserve transients; EDM and techno use 5–10 ms for density. Parallel compression blends the compressed signal at 20–40% wet to lift room sound without eliminating the uncompressed transient attack.
The final limiter stage uses lookahead limiting (3–5 ms) to catch transient peaks before they exceed the true peak ceiling. The limiter targets platform-specific LUFS: -14 LUFS for Spotify, -16 LUFS for Apple Music, -11 LUFS for SoundCloud, -9 LUFS for Beatport. Gain reduction is transparent at 1–2 dB of limiting; beyond 3 dB audible artifacts require reducing the input drive.
All processing runs in your browser via Web Audio API — no audio data is uploaded to any server.
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