General
- an Overview of Actual Average LUFS Standards for Common Streaming Services
- i.e. What Different Streaming Services and Broadcast Expect you to Do
- Streaming Services Use the Integrated RMS which is the Average Loudness of the Whole Program Material (Not Momentary or Short Term)
- Notice that Short Term is at the Loudest Spot Always Higher than the Integrated (e.g. when Short Term is -8 LUFS then the Integrated is Around -9 LUFS
- thus Always Master a Track with Based on the Loudest Spot of the Song and Look at a Short Term Meter so the Overall Loudness is Not Cut by Loudest Spot (then Check the Integrated Loudness)
- All Streaming Platforms Require a Sample Rate at 44.1kHz, Except for Apple which Allows Up to 96kHz and Migrate it to 44.1kHz for You
– Notice that Different Streaming Platforms Use Different Standards to Measure / Set Loudness
Broadcast
- Broadcast Loudness Maximisation is Regulated Fix via EBU, ITU-R and ATSC which are All Based on BS 1770 Recommendations
- Post Production Like TV and Film Audio Require a Wide Dynamic Range, i.e. from Whispers to Loud Explosion
- Loudness Maximisation (Integrated) is Set as -23 or -24 LUFS with a TP Level of -1.0, or -2.0 dBTP to Increase Headroom for Strong Transient Elements
- Some Elements Require Additional Headroom for the Short and Momentary Loudness as well, to Avoid Gambling with Rules and Inserting of Loud Commercials where Possible
- All Sub-Broadcast Recommendations are Based on the BS 1770 (where BS 1770-4 is the Latest)
– i.e. if you See Other Presets in a Metering Tool then these are Very Specific Targets but still Based on the BS 1770 Recommendations
- e.g. “ATSC” (Film USA) = 24 LUFS and -2dBTP or “EBU R128” (Film Europe) = 23 LUFS and -1dBTP
Music
- In Music Business, Loudness Maximisation is Regulated by the AES and Streaming Services have Followed these Recommendations Fairly Close
- Since Special Effects (as Used in Film/TV) Play a Less Big Role in Music, Less Headroom for Transients is Needed
- a Common Target was -12 LUFS
– but Gradually these -12 Dropped a little Further and Now Most Use a Maximisation Integrated Level of -14 LUFS
– i.e. Spotify, Youtube and Tidal = -14 LUFS and -1.0 dBTP
– Apple Uses -16 LUFS (when Apple Soundcheck Feature is Enabled)
- AES Guidance is between -16 and -20 LUFS with a TP Level of -1.0 dBTP
Youtube
-14 LUFS (but also Towards -12/-13 LUFS)
– Youtube Uses Loudness Normalisation in Response to LUFS to Measure / Set Loudness
- you can Right Click a Video and Select “Statistics for Nerds” to See How Youtube Normalised the Volume to Fit the Required LUFS
- e.g. when Content Loudness Says 7dB, then the Track was Lowered by 7dB on Youtube Side
- but Notice that when Content Loudness is Quieter than the -14 LUFS Target the Track is Played at that Volume by Youtube and Not Raised in Volume
Spotify
-14 LUFS
- Spotify Uses Replay Gain in Response to LUFS to Measure / Set Loudness
– Keep TP at -1dBTP for Normal Tracks but -2dBTP for Loud Tracks as the Change is Greater to Clip During Transcoding
- Spotify Streams Audio Using OGG/ Vorbis and AAC (which are Almost Guaranteed to Increase Peak Level
– Try to Not Get Louder than -8 LUFS Short Term During the Loudest Part of the Song
Tidal
-14 LUFS
Pandora
-16 LUFS
Apple Music
-16 LUFS
- Apples Allows for Sample Rates Up to 96kHz and Migrate it to 44.1kHz for You
– Apple Uses a variation of Something Called PLR to LUFS to Measure / Set Loudness
Soundcloud
– Still Based on Peak, i.e. No Loudness Normalisation on Soundcloud
- but it is Worth Noting that they Transcode All Audio to 128kbps MP3
- also Keep TP at -1dBTP
- Try to Not Get Louder than -7 LUFS Short Term During the Loudest Part of the Song
– Notice that Soundcloud Data Compresses and Applies a Steep Cutoff at 16.5kKz
Beatport
- Preview of Tracks is at Original Volume (i.e. Volume that the Producer has Uploaded the Song Originally)
- thus No Loudness Normalisation on Beatport when Users Listen to Tracks Online
Amazon Music
– Although Amazon Turns Louder Music Down to Match the -16 LUFS, they Currently Do Not Increase Gain of Quieter Tracks
- thus Make Sure to Keep the Overall Integrated Loudness at -16 LUFS or Louder
Bandcamp
– 24 Bit or 16 Bit Wav are Welcome
- also Lossless FLAC or ALAC (will Always have the Same Bit Depth as the Originals you Upload)
– the Bit Depth of Lossy Downloads (Mp3, OGG, AAC) is Determined by the Different Devices your Fans Use for Playback (but Whenever Possible Bandcamp Use the Higher Bit Depth to Generate those Files)
Targets 10/2019
Targets 5/2020
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