Normalize audio loudness using Peak, RMS, or LUFS standards. Apply streaming presets (-14 LUFS for Spotify/YouTube), broadcast (-23 LUFS), or CD mastering levels. Visual loudness meter included.
Audio files recorded at different times or on different devices often have wildly inconsistent volume levels. The Volume Normalizer measures your file, then applies a single uniform gain so the chosen loudness metric lands at your target. It offers three measurement modes: Peak (the single loudest sample), RMS (the average energy of the whole file), and an LUFS estimate for perceived loudness. The gain is computed once and applied to every sample equally, so no frequency balance is changed.
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A playlist of clips recorded on different devices is jarringly loud then quiet.
Input
clip set · target −16 LUFS (podcast standard)
Output
All clips matched to −16 LUFS integrated loudness, true-peak safe
Loudness normalisation targets perceived volume (LUFS), not raw peaks, so clips sound equally loud to the ear, the standard podcast platforms expect. True-peak limiting prevents the clipping a naive gain boost would cause.
Audio files recorded at different times or on different devices often have wildly inconsistent volume levels. The Volume Normalizer measures your file, then applies a single uniform gain so the chosen loudness metric lands at your target. It offers three measurement modes: Peak (the single loudest sample), RMS (the average energy of the whole file), and an LUFS estimate for perceived loudness. The gain is computed once and applied to every sample equally, so no frequency balance is changed.
Bring all speakers toward a uniform loudness so listeners do not have to adjust volume between segments.
Normalize a collection of tracks from various albums so playback volume stays more even in a playlist.
Get close to a platform loudness target before uploading, then confirm in a compliant meter if strict accuracy matters.
The tool computes three numbers from your audio in one pass: the peak (highest absolute sample), the RMS (square root of the mean of the squared samples, i.e. average energy), and a dynamic-range figure (peak minus RMS). Whichever mode you pick becomes the reference level, and the required gain in dB is simply target minus measured level; that dB figure is converted to a linear multiplier and shown to you before you commit.
A note on the LUFS readout, for honesty: true LUFS as defined by ITU-R BS.1770 requires a K-weighting filter (a high-shelf plus a high-pass) and gated mean-square integration over 400 ms blocks. This tool does not implement that filter chain. Its LUFS value is a simplified approximation derived directly from the file RMS (20*log10(rms) with a small offset), so it tracks perceived loudness far better than peak normalization but is not a BS.1770-compliant measurement and should not be treated as a certified loudness reading for broadcast delivery. For casual leveling, matching a playlist, or getting close to a streaming target, the approximation is a useful guide; for strict compliance, verify the final file in a metering tool that implements full K-weighting.
On apply, the gain is multiplied into every sample and a soft-clip (exponential knee) is applied to anything that would exceed 0 dBFS, which tames occasional overs without hard digital clipping but is not a true look-ahead limiter. Because aggressive upward gain on quiet, dynamic material can push transients into that soft-clip region, leave a little headroom (or pick a lower target) when the dynamic-range readout is high. Output is encoded to MP3.
Peak adjusts gain so the loudest single sample hits your target ceiling. RMS targets the average energy of the whole file. The LUFS mode estimates perceived loudness from the RMS, which handles dynamic content more naturally than peak.
No. The LUFS value is a simplified approximation based on file RMS, not a full ITU-R BS.1770 K-weighted, gated measurement. It is a good practical guide for matching loudness, but for certified delivery verify the result in a meter that implements true LUFS.
Upward gain can push peaks above 0 dBFS on dynamic material. The tool applies a soft-clip on output to reduce harsh overs, but it is not a look-ahead limiter, so leaving headroom (or choosing a lower target) is safest.
It applies a uniform gain to every sample, so no frequency content is altered. The only quality factors are the soft-clip on overs and the final MP3 encode.
Audio is decoded and processed locally with the Web Audio API. Your files are never uploaded to a server.