Loudness Metering and Streaming Delivery
Learning objectives
- learner can read LUFS/LU, VU and True-Peak meters and explain how they differ from sample-peak meters
- learner can target platform loudness/true-peak specs and understand playback normalization
- learner can avoid inter-sample clipping and peak-normalization traps when delivering to streaming
Capstone — one whole task that evidences the objectives
Deliver one master to streaming correctly: measure integrated LUFS and True Peak, set the true-peak ceiling to satisfy Spotify's spec, confirm the master gains rather than loses from playback normalization, and document why extreme limiting no longer pays off.
Prerequisite modules
This module ends where most electronic releases actually end: bouncing a finished master from your DAW and uploading it to a distributor, knowing exactly how it will survive Spotify’s pipeline. For a live coder or bedroom producer releasing a techno or ambient track, this is the last unglamorous step where good work gets silently damaged — a hot master turned down and left sounding flat, or a quiet one that can never be lifted to target because its peaks sit at 0 dBFS.
The arc starts with reading. First internalize why equal peaks never mean equal loudness (the mismatch that drove the loudness war) and why VU-style averaging and DAW sample-peak meters tell different, incomplete stories. Then move to the trap those meters share: the reconstructed waveform can clip between samples, which is why an oversampling True-Peak meter — and a -1 dBTP ceiling — exists at all. A supported first exercise is metering an existing track: log its integrated LUFS and True Peak against Spotify’s -14 LUFS playback target and its -1/-2 dBTP ceiling rules. From there, the unsupported capstone asks you to deliver your own master, reasoning through the positive-gain true-peak constraint to confirm normalization helps rather than hurts you.
Every required atom is load-bearing: the meter-literacy atoms gate the measurement step, the Spotify spec atoms gate the ceiling and target decisions, and the playback-normalization atoms (including the playback-only, file-untouched misconception) gate the written justification for restraint. The supporting atoms enrich that justification — loudness-war history, hypercompression’s irreversibility, and the level-matched A/B procedure that lets you hear what maximization costs — without being needed to complete the delivery itself.
Runnable examples
Generated from the context/ instrument corpus by concept (redistributable idioms only). Do not edit — regenerate with gen-module-examples.mjs.
gain-staging
(saw 110) * dbamp (-12) >> audio
punctual-0010 · CC0-1.0
SinOsc s => Dyno d => dac; d.limit();
chuck-0028 · MIT
Atoms in this module
Required — these gate the capstone
Supporting — enrichment, not gating
Part of curricula
- Electronic Music Producer — from raw sound to a released track — Master, ship, and release required
- Sampling Artist — from crate-digging to a curated sample practice — Mix, master and clear the work recommended
Unlocks — modules that require this one