What is the goal of loudness normalization? That’s not what normalization is about though, and it’s not really how it works.
It’s something you aim for with the goal of hitting as precisely as possible. In my view, this started with the language we’ve been using to talk about loudness normalization, particularly one word: “target.” Time and time again I’ve heard people mention a “normalization target,” usually with the accompanying value of -14 LUFS. Why are streaming loudness targets problematic? So how did we all get so confused? Why isn’t it that simple, and what level should you master to? Before we tackle that head-on, I want to rewind a little and address a systemic misconception that is at the root of a lot of this. Me: “Hold on, it’s actually not quite that simple…” Intrepid Engineer: “How loud should I master for Spotify?” Usually, the conversation goes something like this: This is probably the most common myth out there about mastering for streaming services I see it all the time. Busted Myth #1: Master to -14 LUFS on Spotify and you’ll be fine!
Or, skip the explanation jump right to the bottom for four key tips to keep in mind, and check out this article for a better understanding of what Spotify is really doing to your audio. In this article, we’ll take a look at three myths surrounding how different services normalize audio, whether Spotify or others have ideal LUFS and peak levels, how loudness normalization impacts song-to-song level balances in albums, and why some songs still sound quieter than others, even with loudness normalization turned on. Most leading streaming services like Spotify and SoundCloud have implemented some form of loudness normalization, turning the act of mastering for streaming platforms into a bit of a minefield.
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