Avoid Clipping: Loudness vs Peak Levels Explained (2025)

You normalize to −14 LUFS, upload to YouTube, and hear distortion. The problem is not loudness—it’s peak clipping. LUFS measures average loudness; peak level measures the highest sample. Both matter, and getting one right does not guarantee the other. This guide explains the difference, how clipping happens even at safe LUFS, and the limiter settings that prevent distortion on every platform.

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Quick Start

1. Open the LUFS Analyzer and upload your audio file
2. Check both LUFS (integrated) and True Peak (dBTP) readings
3. If True Peak > −1.0 dBTP, your audio may clip on some platforms
4. Re-normalize using a limiter with −1.0 dBTP ceiling and target LUFS
5. Re-analyze to confirm True Peak ≤ −1.0 dBTP and LUFS at target

Open LUFS Analyzer →

What Is Clipping and Why It Matters

Clipping occurs when an audio signal exceeds the maximum level the format can represent (typically 0 dBFS in digital audio). The waveform gets cut off—literally clipped flat—which creates audible distortion. Listeners hear harsh crackles, pops, or a crushed sound, especially on mobile speakers and earbuds where distortion is more obvious.

There are two types of clipping: sample clipping (when individual samples exceed 0 dBFS) and true-peak clipping (when the reconstructed analog signal exceeds 0 dBFS between samples during playback). Most meters only catch sample clipping. True Peak metering catches both, which is why platforms like YouTube, Spotify, and Apple Music recommend keeping True Peak below −1.0 dBTP.

LUFS vs Peak: Two Different Measurements

LUFS (Loudness Units Full Scale) and peak level measure different aspects of your audio. Understanding both is essential for clean uploads.

What LUFS Measures (Integrated Loudness)

LUFS measures average perceived loudness over the entire file, weighted by human hearing sensitivity. A track at −14 LUFS integrated sounds equally loud as any other track normalized to −14 LUFS, regardless of peak levels. Platforms use LUFS to ensure consistent playback volume across all content.

LUFS tells you how loud the track sounds, but it says nothing about whether peaks exceed safe limits.

What Peak Measures (Instantaneous Amplitude)

Peak level measures the highest instantaneous amplitude in your audio, usually reported in dBFS (full-scale) or dBTP (true peak). A peak of 0 dBFS means the signal reaches the maximum digital value; anything above 0 dBFS clips.

True Peak (dBTP) accounts for inter-sample peaks—values that occur between samples when the digital signal is converted back to analog. These peaks can exceed 0 dBFS even if no individual sample does. True Peak metering prevents clipping after codec conversion (AAC, Opus, etc.) on streaming platforms.

Why You Can Hit −14 LUFS and Still Clip

LUFS normalization adjusts the overall gain to reach the target loudness. If your audio has high peaks relative to its average level, the gain increase needed to reach −14 LUFS can push those peaks above 0 dBFS, causing clipping. This is common with dynamic content like orchestral music, podcasts with loud laughter, or uncompressed dialogue.

To prevent this, use a limiter with a true-peak ceiling (e.g., −1.0 dBTP) alongside LUFS normalization. The limiter catches peaks transparently while the normalization adjusts overall loudness.

How to Prevent Clipping

Preventing clipping requires monitoring both LUFS and True Peak, then applying the right processing to keep peaks under control while hitting your loudness target.

Check True Peak Before Export

Always check True Peak readings before finalizing your audio. Most DAWs and analysis tools display True Peak alongside sample peak. If True Peak exceeds −1.0 dBTP, your audio is at risk of clipping after platform transcoding.

The LUFS Analyzer displays both integrated LUFS and True Peak (dBTP) after analysis, so you can verify both in one pass.

Recommended Headroom Settings

Here are the True Peak limits recommended by major platforms:

• YouTube, TikTok, Instagram: −1.0 dBTP or lower
• Spotify, Apple Music: −1.0 dBTP or lower
• Broadcast (TV, radio): −1.5 to −2.0 dBTP

A safe universal target is −1.0 dBTP. This provides enough headroom to survive lossy codec conversion without clipping, while preserving maximum loudness.

Limiter Settings for Clean Loudness

Use a true-peak limiter with these settings to hit −14 LUFS without clipping:

• Ceiling: −1.0 dBTP
• Release time: 50–100 ms (fast enough to catch transients, slow enough to sound transparent)
• Lookahead: 5–10 ms (prevents overshoot on fast transients)

Most modern limiters (FabFilter Pro-L 2, Waves L2, iZotope Ozone, Limiter6) support true-peak metering and ceiling settings. If you use ffmpeg, add the loudnorm filter with TP=-1.0 to ensure true-peak compliance.

Examples: Before and After

Here’s a side-by-side comparison of a track normalized to −14 LUFS without peak limiting (left) and with a −1.0 dBTP limiter (right). The waveforms look similar, but the right version stays under the ceiling and avoids clipping.

ffmpeg Normalization with Peak Limiting

To normalize and limit peaks in one command, use ffmpeg’s loudnorm filter:

ffmpeg -i input.wav -af loudnorm=I=-14:TP=-1.0:LRA=11 output.wav

This command:

• I=-14: Sets integrated loudness target to −14 LUFS
• TP=-1.0: Limits true peak to −1.0 dBTP
• LRA=11: Preserves up to 11 LU of dynamic range

For a complete workflow with measurement, preview, and export, see Normalize to −14 LUFS Fast (Recipe).

Common Mistakes & Fixes

• Ignoring True Peak after LUFS normalization → Always check True Peak (dBTP) after normalization. LUFS normalization can push peaks above 0 dBFS if the source is dynamic.
• Using sample peak instead of True Peak → Sample peak metering misses inter-sample peaks. Use True Peak (dBTP) to catch clipping that occurs during digital-to-analog conversion.
• Setting limiter ceiling too high → A ceiling above −0.5 dBTP risks clipping after codec conversion. Stick to −1.0 dBTP for streaming platforms.
• Over-limiting before normalization → If your mix is already heavily limited, LUFS normalization will not restore dynamics. Start with a dynamic mix, then limit at the final stage.
• Skipping verification → Re-analyze your exported file to confirm both LUFS and True Peak match your targets. Rounding errors or codec artifacts can shift values slightly.

FAQs

What’s the difference between LUFS and dBTP?

LUFS measures average loudness over time; dBTP (decibels True Peak) measures the highest instantaneous amplitude. LUFS tells you how loud your track sounds; dBTP tells you if peaks will clip.

Can audio be loud enough (high LUFS) but still clip?

Yes. High LUFS means high average loudness, but individual peaks can still exceed 0 dBTP and cause clipping. Always monitor both LUFS and True Peak.

What True Peak level should I target?

Aim for −1.0 dBTP or lower. Most streaming platforms (YouTube, Spotify, Apple Music) recommend −1.0 to −2.0 dBTP to prevent inter-sample peaks after codec conversion.

Will YouTube normalize my audio automatically?

YouTube normalizes to −14 LUFS, but it won’t fix clipping. If you upload clipped audio, it stays clipped. Always check True Peak before uploading.

Should I use a limiter or a compressor to prevent clipping?

Use a limiter with a true-peak ceiling (e.g., −1.0 dBTP). Limiters catch peaks transparently; compressors shape dynamics but may not prevent clipping alone.

What’s inter-sample clipping?

Digital-to-analog conversion can create peaks between samples that exceed 0 dBFS. True Peak metering catches this; sample peak metering doesn’t. This is why platforms recommend True Peak limits instead of sample peak limits.