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Spotify plays your track at about -14 LUFS whether you like it or not. Upload your master and see the exact gain each platform will apply, where your true peaks land after transcoding, and download versions built for every target.
Your file is analyzed and deleted — we keep numbers, not audio.
The report covers Spotify, YouTube and Amazon Music at -14 LUFS and Apple Music at -16 LUFS, with true-peak ceilings applied.
By default Spotify plays everything at about -14 LUFS integrated loudness. Louder masters are turned down by the difference; quieter masters are turned up as far as their peak headroom allows. YouTube and Amazon Music sit near the same -14 LUFS region; Apple Music uses roughly -16 LUFS.
Louder than -14 LUFS buys you nothing on normalized playback — the platform turns it straight back down, and the limiting you used to get there stays in the sound. What matters is how your master sounds at the level everyone actually hears it.
Integrated loudness (LUFS), true peak (dBTP), the gain each platform will apply to your file, clipping risk, mono compatibility, and skip-risk in your intro. You also get 24-bit versions rendered for each platform's target, free to download.
-1 dBTP is the widely used ceiling: it leaves room for the inter-sample peaks that lossy encoding (AAC, Ogg) adds, which can push an exactly-0 dBFS master into audible clipping after transcoding.
On Spotify it is on by default but users can disable it, and some playback contexts skip it. That is one more reason to master for sound rather than for the meter: your track should survive both normalized and raw playback.
Analyzed, rendered, deleted. We keep the measurements, never the audio. Eight free runs a day.
The loudness unit, how integrated loudness is measured, and what the targets mean.
Inter-sample peaks, dBTP, and why 0 dBFS masters clip after encoding.
What the platform actually does to loud and quiet masters.