TikTok and Reels Loudness: The -14 LUFS Target Explained

If you have searched this before, you have probably found three articles that contradict each other.

TikTok and Reels normalises playback to -14 LUFS integrated with a -1 dBTP ceiling. Every decision below follows from that one fact, including the ones that feel counterintuitive, like why a quieter master often wins.

Nothing below is theory for its own sake. Every number here is one you can check on a meter, and every step is one you can run on the next track you open.

Key takeaways

TikTok and Reels targets -14 LUFS integrated with a -1 dBTP true peak ceiling.
Mastering louder than the target gains you nothing, because playback gain removes it.
Keep loudness range between 4 and 9 LU so the track still moves.
Always verify true peak after encoding to AAC, not just on the WAV.

What TikTok and Reels actually does to your master

TikTok and Reels normalises playback to -14 LUFS integrated. It does not re-render your file. It applies a playback gain offset so that every track in a playlist arrives at roughly the same perceived level.

Heavy platform-side processing plus phone speakers. Midrange presence beats raw level every time.

The practical consequence is simple. If you master to -6 LUFS, TikTok and Reels turns you down to -14 LUFS anyway. You do not get to be louder. You only get to be more compressed at the same final level as everyone else.

Where genres and platform targets sit on the loudness scale.

The numbers to hit for TikTok and Reels

Setting	Value	Why
Integrated loudness	-14 LUFS	Matches the playback target, so no gain reduction is applied
True peak ceiling	-1 dBTP	Leaves room for inter-sample peaks created by lossy encoding
Loudness range (LRA)	4 to 9 LU	Enough movement to breathe, tight enough to hold attention
Short-term peaks	Within 3 LU of integrated	Keeps choruses impactful without triggering hard limiting

Measure integrated loudness across the whole track, not a loud section. A chorus reading -14 LUFS means the song as a whole is quieter than you think.

Why louder stopped working

Before normalisation, a louder master genuinely sounded better in a playlist, because loud is the first thing the ear reads as quality. That was the entire mechanism behind the loudness war.

Normalisation removed the reward and kept the penalty. Every platform now turns loud masters down to a common target, so a squashed master and a dynamic one arrive at your listener's ears at the same volume. The difference is that the squashed one gave up its transients to get there.

A kick drum that peaks 8 dB above the mix has impact. The same kick limited to 2 dB above the mix does not, and no amount of playback gain puts that back.

How to check your master properly

Measure integrated loudness over the full track, from first sample to last.
Check true peak, not sample peak. Set your meter to 4x oversampling minimum.
Encode to AAC at 256 kbps and re-measure. Lossy encoding creates peaks that were not in your WAV.
Listen at a fixed monitoring level so you are judging tone, not volume.
A/B against a commercial reference in the same genre, level-matched to within 0.5 LU.

That last step is the one people skip, and it is the one that actually tells you something. Comparing an unmatched reference just tells you which file is louder.

The mistakes that cost the most

These are not exotic. They are the five things that show up again and again in tracks that almost work.

Judging at a different level each time. Loud always sounds better, so set a monitoring level and leave it.
Solving a balance problem with a plugin. If the fader cannot fix the relationship, a compressor will only make the wrong balance more consistent.
Working only on one system. A mix that only holds together on your monitors is not finished, it is calibrated to your room.
Boosting where you should be cutting. Making something louder to beat a masking problem raises the whole noise floor of the arrangement.
Never bypassing. If you have not compared against the unprocessed version in the last twenty minutes, you have lost your reference point.

Take a break every forty minutes. Ear fatigue does not announce itself, it just quietly moves your idea of what bright means.

A ten-minute version of this

If you have one evening and not one week, this is the order that gets the most improvement for the least time.

Two minutes: listen all the way through without touching anything, and write down the three things that bother you.
Two minutes: fix the loudest problem on the list, with the simplest tool that will do it.
Two minutes: check in mono and on a phone speaker. Fix anything that falls apart.
Two minutes: level-match against a reference and note the tonal difference, not the loudness difference.
Two minutes: make one broad corrective move based on that comparison, then stop.

Three specific problems solved beats twenty small adjustments that cancel out. The written list is what stops the session drifting.

What MaestroNet does with this

MaestroNet analyses the source before it processes anything: spectral balance against a genre reference curve, crest factor, stereo correlation across frequency, transient density, and where the energy actually sits.

The targets move with the style. The chain does not. That matters, because a system that swaps in a different EQ curve regardless of what you sent will fight a mix that was already correct.

Loudness targeting to the platform standard, measured integrated across the whole track.
True peak limiting with oversampling, so the AAC encode stays clean.
Bass management below the crossover, keeping the low end mono and centred.
Tonal correction referenced to the selected style, applied in broad strokes rather than narrow ones.

What it will not do is decide that the second chorus should feel bigger than the first. That is an interpretive call, and it stays yours.

Frequently asked questions

What LUFS should I master to for TikTok and Reels?

-14 LUFS integrated with a -1 dBTP true peak ceiling. Going louder does not make you louder on TikTok and Reels, because playback gain is applied to bring you back to the target.

Will a quieter master sound weak next to other tracks?

Not on a platform that normalises. Everything arrives at the same perceived level, so the difference you hear is tone and dynamics, not volume.

Does normalisation change my file?

No. It applies a playback gain offset at the listener's device. Your master is untouched.

Should I master differently for each platform?

Usually not. One master at -14 LUFS with a -1 dBTP ceiling works everywhere. Make a separate louder version only if you also need a club or CD master.