LUFS (or LKFS, the same thing) is the unit of perceived loudness defined by ITU-R BS.1770. Unlike peak level, it measures how loud a piece sounds on average to the human ear. Platforms use it so everything plays back at an even level.

What happens if I deliver a piece louder than the platform target?

On social media and music services the platform turns it down automatically, and it usually loses punch compared with a mix made for that target. On TV and streaming series it is rejected at QC and has to be redelivered.

Does one mix work for TV, YouTube and social media?

Almost never. Targets range from −27 to −14 LUFS and each destination has its own peak limit. The right approach is a master mix plus a version tuned for each destination. That is part of the deliverables.

What is true peak (dBTP)?

It is the actual peak of the signal after digital-to-analog conversion or lossy encoding (MP3, AAC). It can exceed the digital peak, which is why platforms set a limit of −1 or −2 dBTP to avoid distortion.

Guide · updated October 1, 2026

Loudness
by platform.

Every destination measures and corrects volume its own way. These are the reference values we use at MoltiStudio to deliver a mix, from streaming to the cinema.

In short: Streaming series and films are delivered between −27 and −24 LKFS (Netflix measures dialogue only), TV at −23 LUFS (EBU R128, Europe) or −24 LKFS (ATSC A/85, USA), and YouTube, Spotify and social media normalize around −14 LUFS (Apple, −16). True peak goes from −1 to −2 dBTP depending on the destination. Cinema is not normalized: it is mixed in a calibrated room.

These are public reference values. In a real delivery, the client or platform delivery spec always rules.

Streaming series and films (OTT)

Video platforms require a fixed integrated level and reject deliveries that miss it. Netflix measures with dialogue gating, that is, on dialogue only.

Destination	Loudness	Max. peak	Notes
Netflix	−27 LKFS ±2 (dialogue-gated)	−2 dBTP	Measured with dialogue gating (ITU-R BS.1770). Also requires stems and M&E per its delivery spec.
Amazon Prime Video	−24 LKFS ±2 (full program)	−2 dBTP	Integrated level over the whole program.
Other platforms	Per their spec	Per their spec	Disney+, Max, Apple TV+ and regional platforms publish their own specs. We request them before mixing.

Television

Broadcast and cable follow regional standards. The difference between the European and the US standard is 1 LU, but that is enough to get a delivery rejected.

Destination	Loudness	Max. peak	Notes
Europe (EBU R128)	−23 LUFS ±0.5	−1 dBTP	The most widely used broadcast reference in the world.
USA (ATSC A/85)	−24 LKFS ±2	−2 dBTP	US television standard (CALM Act).
Channels in Argentina and the region	Per channel	Per channel	Each network has its own technical sheet. We request it along with the delivery format.

Social media, YouTube and music

Social and music platforms do not reject material: they normalize it. If a piece arrives louder than the target, they turn it down and it loses punch.

Destination	Loudness	Max. peak	Notes
YouTube	≈ −14 LUFS (turns down only)	−1 dBTP	Lowers what arrives louder, but does not raise what arrives quieter.
Spotify	−14 LUFS (default)	−1 dBTP	Listeners can choose −11 (Loud) or −19 (Quiet).
Apple Music	−16 LUFS	−1 dBTP	Normalization with Sound Check.
Instagram, TikTok and Shorts	−14 LUFS (recommended)	−1 dBTP	No official published spec. −14 is common practice so they do not turn it down.

Podcasts and audiobooks

In audio-only formats the voice rules: it has to be intelligible on headphones, in the car and on a phone speaker.

Destination	Loudness	Max. peak	Notes
Apple Podcasts	−16 LUFS ±1	−1 dBTP	Apple recommendation for podcasts.
Spotify (podcasts)	−14 LUFS	−1 dBTP	Same normalization as music.
Audiobooks (ACX / Audible)	RMS −23 to −18 dB	−3 dB peak	Plus a noise floor below −60 dB RMS and 192 kbps CBR MP3.

Cinema

Cinema is not normalized: the theater is calibrated and the mix is made at reference level, in a treated room.

Destination	Loudness	Max. peak	Notes
Theatrical feature	Mixed at reference level	Per format	Monitoring calibrated to 85 dB SPL, in stereo, 5.1, 7.1 or Dolby Atmos depending on distribution.
Trailers and cinema ads	Leq(m) 85 (trailers) / 82 (ads)	—	Loudness limits from the TASA standard for what plays before the feature.

Frequently asked questions

What is LUFS?: LUFS (or LKFS, the same thing) is the unit of perceived loudness defined by ITU-R BS.1770. Unlike peak level, it measures how loud a piece sounds on average to the human ear. Platforms use it so everything plays back at an even level.
What happens if I deliver a piece louder than the platform target?: On social media and music services the platform turns it down automatically, and it usually loses punch compared with a mix made for that target. On TV and streaming series it is rejected at QC and has to be redelivered.
Does one mix work for TV, YouTube and social media?: Almost never. Targets range from −27 to −14 LUFS and each destination has its own peak limit. The right approach is a master mix plus a version tuned for each destination. That is part of the deliverables.
What is true peak (dBTP)?: It is the actual peak of the signal after digital-to-analog conversion or lossy encoding (MP3, AAC). It can exceed the digital peak, which is why platforms set a limit of −1 or −2 dBTP to avoid distortion.