True Peak: Is –1 dBTP Really Important?

Delivering masters at –1 dBTP has become a common recommendation for streaming platforms.
In some cases, platforms even suggest –2 dBTP for very loud masters.

But why does this margin matter — especially when many releases are still delivered peaking at 0 dBFS?

Sample Peak vs True Peak: A Common Misunderstanding

A master peaking at 0 dBFS isn’t necessarily safe.

Due to intersample peaks, the reconstructed analog waveform can exceed 0 dBFS — and therefore 0 dBTP — even when the digital samples themselves do not clip.

In other words:
Many masters hitting 0 dBFS are already technically clipping… even before encoding.

Lossless Playback: Usually Not a Major Issue

In WAV or FLAC playback, this rarely causes audible problems:

  • Modern DACs handle intersample peaks well

  • Audible clipping in lossless playback is uncommon

So this isn’t where the main risk lies.

The Real Problem: Lossy Encoding

The real issue begins with lossy codecs, such as:

  • AAC

  • Ogg Vorbis

  • MP3

Streaming platforms transcode your master into these formats.

During encoding, the codec reconstructs the signal, which can:

  • Create new intersample peaks

  • Generate peaks higher than the source

With a 0 dBFS master, this increases the risk of:

  • Added distortion

  • Harshness

  • Reduced punch

  • Loss of clarity

A clean master can end up sounding worse after upload.

Loudness War vs Best Practices

So why are many masters still delivered at 0 dBTP?

👉 The loudness war.

Every 0.1 dB can feel competitive, so limiters often get pushed to the edge — sometimes at the expense of streaming translation.

My Delivery Approach

To balance quality and real-world use cases:

  • 🎧 –1 dBFS / –1 dBTP → Streaming platforms

  • 💿 0 dBFS → CD & DJs (e.g., Beatport, which doesn’t normalize)

Conclusion

Yes — the audible difference between a lossy encode from a –1 dBFS source vs 0 dBFS is often subtle.

But mastering is a craft of subtlety.

And ensuring a master translates optimally across all playback platforms is a core part of the mastering engineer’s role.

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Integrated LUFS and the Floating Threshold