Audio normalizer
Bring a single file to a standard loudness target with true-peak protection — pick the platform preset and render.
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Loudness normalization measures the perceived loudness of your whole track in LUFS (Loudness Units Full Scale), then applies a single gain adjustment so the file lands on a chosen target like -14 LUFS. Unlike peak normalization, which only looks at the highest sample, LUFS is K-weighted to match how the ear actually hears, so it lines up better with what streaming services measure on playback. The true-peak stage adds a limiter that catches inter-sample peaks (the overshoots that appear between samples when audio is reconstructed), keeping the file under a safe ceiling such as -1 dBTP.
Suno exports rarely come out at a consistent level, so a batch of AI-generated songs can sound noticeably louder or quieter track to track, and every major platform runs its own playback normalization that will quietly turn a mismatched file up or down. Normalizing to the platform's target ahead of time means your song plays at the level you intended next to professionally mastered releases, and the true-peak ceiling stops lossy encoders (AAC, MP3, Opus) from introducing clipping when they re-render your audio. It is the last step before you upload or distribute, applied after any EQ, compression, or mastering.
How it works
- 1
Drop the track.
- 2
Pick a target: -14 LUFS (streaming), -16 (podcast), or -23 (broadcast).
- 3
Click normalize and download.
When to use it
- Before sending a finished Suno track to a distributor like DistroKid or TuneCore, normalize it to -14 LUFS so it sits at a consistent level alongside commercially mastered songs on Spotify playlists.
- Prep a lyric or visualizer video's audio for YouTube so the platform's loudness normalization doesn't unexpectedly pull a hot master down and flatten its perceived punch.
- Match a spoken intro or podcast episode that features your AI track to the -16 LUFS target Apple Podcasts recommends (Spotify normalizes podcasts toward -14), keeping a true-peak ceiling so nothing clips when a phone sums the mix to a single mono speaker.
FAQ
Which target do I want?
-14 LUFS matches what Spotify and YouTube normalize toward. Podcast platforms commonly recommend -16; EBU broadcast delivery specs say -23.
How is this different from the volume booster?
The booster applies a fixed dB change you choose. The normalizer measures the file and moves it to an exact loudness standard.
What is LUFS and how is it different from dB?
LUFS measures perceived loudness integrated across the entire track and weighted for how the ear responds to different frequencies, while dBFS peak only reports the single loudest sample. Two files can both peak at 0 dBFS yet sound very different in loudness, which is exactly why streaming platforms measure LUFS instead of peaks.
Does normalizing reduce audio quality?
The loudness change itself is a high-precision level adjustment, not a remix, so it doesn't audibly degrade the audio, and the true-peak limiter only touches the peaks that would exceed your ceiling. What does matter is the output format: this tool re-renders in the same family, so a WAV or FLAC source stays lossless, but a lossy source like MP3 is re-encoded to a high-quality MP3 on the way out, which adds one extra lossy generation. If you want to avoid that entirely, normalize from a WAV or FLAC master rather than an MP3.
Should I normalize before or after mastering?
After. Loudness normalization sets your final delivery level, so it belongs at the very end of the chain, once any EQ, compression, and mastering are done. Running it on a file that's already mastered is completely normal — it simply re-targets the loudness and caps the peaks without redoing your master.
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