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About this tool
Build a per-client audio delivery checklist with the exact format, sample rate and loudness target each destination requires.
An audio deliverables checklist is the list of files a finished job actually has to ship — masters, per-platform encodes, stems, transcripts and artwork — each with the format, sample rate and loudness target its destination requires. This builder assembles that list from the destinations you pick and applies the published specs: ACX at 192 kbps MP3 with RMS between -23 and -18 dB, podcasts at -16 LUFS with true peak at -1 dBTP, EBU R128 broadcast at -23 LUFS ±0.5 LU, and streaming platforms normalising to about -14 LUFS. It also works out the gain change your mix needs to hit any of those targets.
Open Audio Deliverables Checklist Builder on AltFTool — it loads instantly in your browser.
Upload or drag in the file you want to work with.
Adjust the settings and preview the result.
Download the finished file to your device.
Each destination carries its published bitrate, sample rate, loudness target and peak ceiling.
Enter measured LUFS and true peak and see the exact adjustment, plus whether limiting is then required.
File count and package size are estimated from bitrate and PCM maths so delivery is not a surprise.
-16 LUFS integrated for a stereo file, or -19 LUFS for mono, with true peak no higher than -1 dBTP. Apple Podcasts and Spotify both normalise toward that range, so mastering louder just gets turned back down while costing you dynamic range.
MP3 at 192 kbps constant bitrate and 44.1 kHz, each file measuring between -23 dB and -18 dB RMS with peaks no higher than -3 dB and a noise floor at or below -60 dB RMS. Each chapter is a separate file of no more than 120 minutes, with 0.5 to 1 second of room tone at the head and 1 to 5 seconds at the tail, plus separate opening and closing credits files.
LUFS measures perceived loudness averaged over the programme, while dBTP measures the highest inter-sample peak the waveform reaches. You set the LUFS to match the platform target and keep dBTP below the ceiling — usually -1 dBTP — so that lossy encoding does not introduce clipping.
Deliver stems whenever the client may need to re-version, re-dub or re-time the piece later. Stems should be full length, start at the same timecode as the master, and be exported at the master's bit depth and sample rate, otherwise they will not line up when reassembled.