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Normalize each video separately with FFmpeg’s loudnorm filter. For offline files, a two-pass workflow measures each source first, then processes it against the same chosen loudness, range, and true-peak targets. Do not measure unrelated videos as one concatenated program: per-file measurements help keep the level consistent as viewers move through a playlist.
What loudness normalization can—and cannot—do
FFmpeg’s loudnorm implements EBU R128 loudness normalization and supports dynamic and linear modes, as well as single-pass processing and double-pass processing for files. Its three targets address different aspects of sound:
- Integrated loudness (
I): the overall perceived level of the program. - Loudness range (
LRA): how much loudness varies across the program. - Maximum true peak (
TP): a ceiling that accounts for peaks between digital samples.
Choose these as a coordinated set. Matching integrated loudness alone does not make dynamics or peaks identical. FFmpeg’s documented defaults are I=-24.0, LRA=7.0, and TP=-2.0; these are filter defaults, not YouTube upload recommendations. The filter accepts I from -70 to -5 LUFS, LRA from 1 to 50 LU, and TP from -9 to 0 dBTP. See the FFmpeg Filters Documentation, loudnorm section.
YouTube’s official Help pages do not establish a universal creator-side LUFS upload target. Treat the values in the commands below as an example project choice, not a YouTube requirement. Choose targets appropriate to the material and delivery brief, then listen to the result.
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Normalize each file with a two-pass workflow
For each playlist video, run an analysis pass and save its measurements. Then process that same file using its own measurements and the same target values used for the rest of the batch. The measurement values are specific to the input file; do not copy one file’s measurements into another file’s command.
1. Analyze one video
Replace the example targets if your project calls for different ones. This command sends the filter’s JSON report to the terminal while writing no output file:
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ffmpeg -i input.mp4 -af "loudnorm=I=-16:LRA=11:TP=-1.5:print_format=json" -f null -Record the reported input_i, input_lra, input_tp, input_thresh, and target_offset values for that input. Repeat the analysis for every video.
2. Process the same video using its measurements
Substitute the exact values reported for this file in place of the ellipses. Keep the target settings consistent across the playlist:
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ffmpeg -i input.mp4 -map 0:v? -map 0:a:0 -af "loudnorm=I=-16:LRA=11:TP=-1.5:measured_I=...:measured_LRA=...:measured_TP=...:measured_thresh=...:offset=...:linear=true:print_format=summary" -c:v copy output.mp4The -16, 11, and -1.5 targets are illustrative, not YouTube specifications. -c:v copy copies the video stream without re-encoding it; the audio must be encoded because it is being filtered. The sample maps the first audio stream and optional video stream, so check that those are the streams you intend to use. Other streams, such as subtitles or additional audio tracks, are not automatically included by this mapping. Confirm that the selected audio codec and output container suit your file and workflow.
3. Repeat independently for every playlist entry
Use the same selected targets for each video, but use that video’s own five first-pass measurements. Inspect the second-pass summary, including the normalization type, rather than assuming linear processing was used. Repeat the same two commands for every file you plan to upload.
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Choose between one-pass, two-pass, linear, and dynamic processing
| Choice | What it does | When it may suit the job |
|---|---|---|
| One-pass | Normalizes without the explicit first-pass measurements used by the two-pass workflow; FFmpeg supports it for files and livestreams. | When simplicity or live operation matters more than a measured offline workflow. |
| Two-pass | Uses measurements from the actual file in the processing pass. | For offline playlist batches where you want a repeatable target process for each separate video. |
| Linear mode | Applies constant gain to preserve source dynamics if the constraints can be met. It requires measured integrated loudness, LRA, true peak, and threshold. | When preserving the source’s dynamics is important and the target combination permits it. |
| Dynamic mode | Can alter level over time to meet a target when simple linear gain cannot. FFmpeg says its dynamic-mode true-peak detection upsamples to 192 kHz. | When the requested result cannot be achieved by linear gain alone; listen carefully to quiet passages and intentionally dynamic material. |
Linear mode is conditional. FFmpeg may fall back to dynamic mode if the target LRA is below the source LRA or if the required adjustment would exceed the true-peak limit. The summary output helps you check which normalization type was applied. These behaviors and filter parameters are documented in the FFmpeg Filters Documentation.
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- Measure each encoded output with FFmpeg’s EBU R128 measurement capability or inspect the
loudnormsummary. - Check that the output integrated loudness and true peak are within your project’s chosen tolerances.
- Confirm you processed the intended audio stream and retained the expected channel layout.
- Listen to quiet and loud sections in each file, then listen across playlist transitions. Similar integrated loudness readings cannot ensure every program sounds equally loud, particularly when the playlist mixes speech, music, and other formats.
These are verification steps, not a claim that a particular command or target has been tested on your files. Your source material, stream selection, and encoding choices affect the result.
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Account for YouTube playback processing
The rendered file and a viewer’s playback are separate stages. YouTube Help says Stable volume is on by default while watching videos and balances the range between quiet and loud. It is not available for every video and is turned off for YouTube Music and official music videos; viewers can toggle it in the player. YouTube also describes automatic audio-level and mixing adjustments, Stable volume, Voice boost, and channel controls for future uploads. Those settings do not affect ads or videos already uploaded.
Consequently, normalizing before upload can improve consistency in your files, but it cannot guarantee identical playback for every viewer. A creator-side LUFS choice does not disable Stable volume or guarantee uniform playback. See YouTube Help’s pages on controlling video volume and video and audio quality enhancements.
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