EBU R 128

[4] Before the adoption of R 128, normalisation was based on the peak level of audio signals, which led to considerable loudness discrepancies between programmes and between broadcast channels.

This measurement is the integrated loudness calculated over the whole duration of the programme and in the entirety of its contents (i.e. without emphasising specific foreground elements, such as voice).

When practical limitations prevent achieving this accuracy (specifically, less predictable materials such as live mixed programmes), a wider tolerance of ±1 LU is permitted.

The detection gate, specified in ITU-R BS.1770-4, considers silence the portions of audio in which the signal falls below the absolute threshold of −70 LUFS; similarly, the relative gate also drops incoming loudness data if the average level falls 10 LU below the current integrated loudness value.

[4] EBU R 128 and EBU Mode have been implemented by several software developers, audio technology companies and content distributors, including Adobe, Apple, Dolby, iZotope, Magix, PreSonus, Sonible,[10] Sony, Steinberg, TC Electronic, Toyo, Orban and Waves.

[14] Widespread adoption of ITU-R BS.1770 and EBU R 128, combined with the prevailing of streaming over physical media distribution in the 2010s, arguably put an end to the loudness war.

[9] Starting in 2012, European countries integrated EBU R 128 to their audiovisual legislation and television stations in Europe adopted it on all distribution channels.

[17] Since R 128 implementation is not binding,[further explanation needed] some television stations have imposed additional conditions on programme production.