Audio Reference
Podcast Loudness / LUFS Cheat Sheet
Fast working targets for podcast mixes, video podcasts, interviews, social clips, and platform delivery checks.
Common Working Targets
These are practical working targets, not a substitute for a client, broadcaster, or platform delivery spec.
| Format | Integrated loudness | True peak | Use when |
|---|---|---|---|
| Podcast, stereo | -16 LUFS | -1 dBTP or lower | Most stereo spoken-word shows. |
| Podcast, mono | -19 LUFS | -1 dBTP or lower | Mono speech feeds and archival workflows. |
| Video podcast & YouTube | -16 to -13 LUFS | -1 dBTP or lower | YouTube and web content monitored primarily on laptops (-13 LUFS for festival/web). |
| Broadcast & Streaming (Netflix) | -24 LUFS (±1 LUFS) | -2 to -5 dBTP | Television broadcast (EBU R128 / ATSC A/85) and modern OTT streaming delivery. |
| Theatrical Cinema Features | -27 LUFS (±1 LUFS) | -2 dBTP | Traditional theatrical film mixes (calibrated 85 dB SPL 5.1/7.1 room). |
Theatrical Cinema vs. Streaming Delivery & Automated QC
Understanding the difference between room-calibrated theatrical mixing and automated streaming QC is critical for avoiding ruined mix dynamics:
- Cinema Room Calibration (85 dB SPL): Traditional movie theaters do not enforce LUFS limits. Instead, mixing stages and commercial cinemas calibrate room volume by running pink noise through speakers to hit a 85 dB SPL reference level (Dolby 7). Mixing by ear at 85 dB naturally establishes proper dynamic range across all theaters.
- Theatrical vs. Streaming Targets: Theatrical feature mixes target -27 LUFS (±2 LUFS), originated by Netflix in 2018. Standard streaming and television broadcast target -24 LUFS (±2 LUFS) (allowable range: -22 to -26 LUFS).
- AI & Offshore QC Risks: Although specifications permit a ±2 LUFS tolerance, keep your mix within ±1 LUFS of the target. Streaming platform QC departments run files through automated AI gates. If a mix falls outside narrow tolerances, automated processors will clip peaks, crush highs, or raise noise floors.
- True Peak Safety Ceilings: Standard specs call for -2 dBTP True Peak. However, many streaming gates crunch peaks down to -5 dBTP. Setting your master limiter ceiling to -5 dBTP prevents unexpected clipping during automated transcoding.
- Final Pass Verification: Measure your final assembled mix as delivered (not broken into reels, no slates/pops, with 2-second heads/tails) using loudness meters like iZotope Insight 2, Youlean Loudness Meter 2, or Waves WLM Plus.
Mix Pass
Before loudness
- Remove hum, clicks, long silences, and obvious room problems.
- Use high-pass filtering for rumble, then keep speech natural.
- Level speakers before compressing the full mix.
While measuring
- Measure the whole episode or feature file, not only the loudest clip.
- Check true peak after limiting and export encoding.
- Compare the intro, loudest segment, quietest segment, and outro.
After export
- Check WAV and compressed delivery files separately.
- Listen once on headphones and once on small speakers.
- Keep music and ads from overpowering speech.
Use the Tools
Get the Podcast Mix Checklist, plus 2 more QA templates
The mix checklist above, plus the Caption QA Checklist and Shot List Template, bundled as one free PDF pack. We'll email you the link.