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Normalize FLAC Loudness

EBU R128 FLAC Leveller

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How to Normalize the Loudness of FLAC

1 Upload the FLAC audio files you want brought to a consistent level — a whole set at once is exactly the case this is for.
2 Pick a target: about -14 LUFS for streaming platforms, -16 LUFS for podcasts, -23 LUFS for broadcast.
3 Run the analysis; integrated loudness and true peak are measured before any gain is decided on.
4 Download the normalized FLAC file, with the dynamics inside each track left untouched.

Normalize FLAC Loudness FAQ

What is the difference between this and just turning it up?
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A volume change applies a number you chose. Normalisation measures how loud the file actually is and computes the gain needed to hit a target, so ten files recorded at ten different levels all arrive at the same one.
About -14 LUFS is what the major streaming platforms normalise to, -16 LUFS is the usual podcast target, and -23 LUFS is the broadcast standard. Going louder than the platform target gains you nothing — the platform simply turns it back down.
No. It is a single gain adjustment for the whole file, so the relationship between the quiet and loud parts is untouched. Compression and limiting are separate operations and are not applied here.
Concretely, R128 loudness analysis drives an exact gain applied to the PCM, so a whole album can be brought to one target level with the relative dynamics inside each track untouched. The file is measured first and the correction follows from the measurement, rather than a fixed gain being applied and hoped for.
Yes, though lossless files are large, so the batch is bound by upload bandwidth rather than by processing. Settings apply uniformly across the set.
No. Normalize FLAC Loudness is free with no account required, and nothing is added to the audio. Uploads are deleted from the workers shortly after the job finishes.
WAV, FLAC and AIFF, at any bit depth and sample rate up to and including 24-bit/192 kHz. Lossy files work in the same batch if you are mixing sources.
No. Lossless audio is edited sample-exactly, so what comes back decodes bit-identically to what you would get doing the same edit in a desktop editor. You can repeat the cycle as many times as you like without accumulating any loss at all.
JPEG.to is built around the format that carries nearly every photograph in existence — thirty years old, opened by literally everything, and still the right default for a photographic image. The jobs people bring here are the ones a photograph collects over its life — too big to email, wrong dimensions for a form, wrong way up out of a phone. Normalize FLAC Loudness runs on the same upload and the same account as the conversions because that is where those jobs land.
The converter on this site moves images to and from JPEG, PNG, WebP and HEIC, which is where the trade between file size and one more generation of loss gets settled. Deciding the format last rather than first is the whole point: every extra save of a photographic image is another generation, and the fewer of them you spend, the more of the picture survives.
Yes — the same libraries, the same workers, the same caps. The difference is which advice is on the page, and here that advice is built on one property of the format the site is named after: the .jpeg and .jpg extensions are the same bitstream, so nothing here behaves differently from a .jpg — only the filename changes.
Nothing is kept and no account is needed. Uploads are removed from the workers shortly after the job finishes; nothing is looked at, listed or indexed. An account buys history and larger batches, not access.

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