LUFS targets: how loud should your master be?
updated · May 23, 2026 · by Alex Pritsert
Master to about -14 LUFS integrated for streaming (Spotify, YouTube, Tidal, Amazon all normalise near there), or -16 LUFS for Apple Music, with a -1 dBTP true-peak ceiling. Go louder only for club/DJ use (-9 to -6 LUFS). On streaming, mastering louder than the target just gets turned down — it doesn't make you louder.
What LUFS actually means
LUFS (Loudness Units Full Scale) measures perceived loudness over time — much closer to how loud something actually sounds than peak meters. "Integrated LUFS" is the average loudness across the whole track, and it's the number streaming platforms use to normalise everything to a consistent level.
True peak (dBTP) is a separate measurement: the highest level the signal reaches, accounting for what happens between samples. You leave true-peak headroom (typically -1 dBTP) so the file doesn't distort after lossy encoding.
Streaming platform targets
These are approximate normalisation reference levels (platforms tweak them over time). Master to the target rather than above it — exceeding it doesn't make you louder, it just gets attenuated.
| Platform | Integrated LUFS | True peak |
|---|---|---|
| Spotify | -14 LUFS | -1 dBTP |
| Apple Music | -16 LUFS | -1 dBTP |
| YouTube | -14 LUFS | -1 dBTP |
| Tidal | -14 LUFS | -1 dBTP |
| Amazon Music | -14 LUFS | -1 dBTP |
| Deezer | -15 LUFS | -1 dBTP |
| Club / DJ / loud | -9 to -6 LUFS | -1 dBTP |
Genre matters too
Within those platform ceilings, genres sit at different loudness because of their dynamics. Pop, hip-hop, and EDM are typically mastered loud (and accept more compression); rock and indie a touch less; acoustic, jazz, and classical stay more dynamic and quieter. A genre-aware mastering tool sets a sensible per-genre LUFS target automatically — for example Tunr ships presets from Spotify-safe (-14) up to club (-6).
Why "louder isn't better" on streaming
Because streaming platforms normalise playback, a master crushed to -6 LUFS on Spotify gets turned down to roughly -14 anyway — so all you've gained is lost dynamics and more distortion, with no loudness advantage. Master to the target, keep your transients, and let normalisation do its job. Loudness for its own sake only matters where there's no normalisation (some club systems, DJ sets, downloads).
Frequently asked
What LUFS should I master to for Spotify?
About -14 LUFS integrated with a -1 dBTP true-peak ceiling. Spotify normalises playback to roughly -14 LUFS, so mastering louder than that just gets turned down.
Is -14 LUFS too quiet?
No — it's the streaming standard. It sounds quiet in your DAW next to a slammed -8 LUFS master, but on Spotify/YouTube both play back at the same level, and the -14 version keeps more punch and dynamics.
What is true peak (dBTP) and why -1?
True peak is the real maximum level including inter-sample peaks. Leaving -1 dBTP of headroom prevents distortion that can appear after lossy encoding (MP3/AAC), which can push peaks above 0 dB.
What LUFS for a club or DJ track?
Louder — around -9 to -6 LUFS — because club playback usually isn't loudness-normalised. For the streaming version of the same track, render a separate -14 LUFS master.
Does Spotify turn down loud masters?
Yes. Spotify normalises tracks to about -14 LUFS by default, so a louder master is attenuated on playback. You don't gain loudness by mastering hotter — you lose dynamics.