Studio credit
Elephant Audio
Audio production · Sound design · Music production
LahorePKEngineering sound since 2018
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EBU R 128 sets a Programme Loudness Level of −23.0 LUFS with true peak no higher than −1 dBTP. A tolerance of ±1.0 LU is permitted only where the target is not practically achievable, such as live programmes. Quality control may allow ±0.2 LU for measurement error. The current revision is R 128-2023.
Source
Transcribed from the published standard, read 2026-09-18. Check it yourself
R 128 states that the Programme Loudness Level shall be normalised to a Target Level of −23.0 LUFS. The often-quoted ±1.0 LU is not a general allowance: the document permits it specifically where attaining the target is not achievable practically, giving live programmes as the example, and adds that a broadcaster should ensure a deviation towards the limits of the tolerance does not become standard practice.
A separate and much tighter figure covers quality control. For the implementation of loudness workflows, a tolerance of ±0.2 LU is allowed in order to take account of measurement errors. That is the number a QC system is realistically working to on pre-recorded material, and it is the one most summaries omit entirely.
The document also allows a Programme Loudness Level deliberately lower than −23.0 LUFS in special cases, but requires that the exception be clearly indicated.
“that the Programme Loudness Level shall be normalised to a Target Level of −23.0 LUFS. Where attaining the Target Level is not achievable practically (for example, live programmes), a tolerance of ±1.0 LU is permitted.”
The ceiling and the precision it is held to:
R 128 does not simply name a number; it names how the number must be arrived at:
R 128 notes that for programmes shorter than one minute, the use of Loudness Range is not recommended, because there are too few data points — LRA is built on short-term loudness values measured over a three-second window.
Almost all advertising is shorter than one minute. So an LRA figure quoted on a thirty-second spot, or a QC system rejecting one on LRA grounds, is applying a measure the standard itself says not to use at that duration. This is worth knowing before arguing with a broadcaster's automated report.
“For programmes shorter than 1 minute, the use of the measure Loudness Range is not recommended due to too few data points (Loudness Range is based on the Short-term-Loudness values (3-seconds-window)).”
Which version a spec sheet is quoting matters, because the tolerances moved:
Every figure on this page came from the recommendation itself:
No. The −23.0 LUFS Target Level is the headline, but the recommendation also fixes the true-peak ceiling at −1 dBTP, requires ITU-R BS.1770 gated measurement including equation (7), requires meter compliance with EBU Tech 3341, and sets separate tolerances for live material and for quality control. A delivery can hit −23.0 LUFS and still fail on any of the others.
Not the ±1.0 LU one. R 128 permits that only where attaining the target is not practically achievable, and names live programmes as the case. For pre-recorded material the relevant figure is the ±0.2 LU allowed in quality-control workflows to account for measurement error, and the document warns that drifting toward tolerance limits should not become standard practice.
Because R 128 states that permitted maximum true peak levels may be lower for different distribution systems and data-reduction rates. −1 dBTP is the production ceiling for linear audio. A lossy encode can overshoot it, which is why many broadcasters and platforms ask for more headroom than the standard's own figure.
This page is the lookup. Broadcast and Streaming Loudness Specs for Commercials is the explanation behind it.
Send the spec sheet and the deliverables come back measured individually against it — the 30, the cut-downs, the social versions — with the report attached.
Studio credit
Elephant Audio
Audio production · Sound design · Music production
LahorePKEngineering sound since 2018
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