US broadcast commercials must meet the ATSC A/85 standard, which specifies an integrated loudness target of –24 LKFS (Loudness K-weighted, relative to Full Scale) with a maximum true peak level of –2 dBTP.

The Audio Post Production Technical Specs ATSC A/85 standard was adopted in response to the CALM Act (Commercial Advertisement Loudness Mitigation Act), which required broadcasters to normalize commercial audio to prevent the "loud TV commercial" problem audiences experienced for decades.

Additional loudness standards by platform:

• European broadcast (EBU R128): –23 LUFS integrated, –1 dBTP maximum true peak
• YouTube: –14 LUFS integrated (content above this level is auto-normalized down)
• Spotify: –14 LUFS integrated
• Apple Music: –16 LUFS integrated
• Meta (Facebook/Instagram): –14 LUFS integrated
• Netflix: –27 LKFS integrated (dialogue-gated)

A spot mastered to broadcast spec (–24 LKFS) and uploaded directly to YouTube or streaming will be automatically turned down by the platform's normalization algorithm — potentially diminishing the perceived impact of the music and sound design. Swell delivers platform-specific mixes as standard for each distribution channel in scope.

OMF (Open Media Framework) and AAF (Advanced Authoring Format) are both interchange formats that transfer an edited audio timeline from a video editing application to a Pro Tools session. AAF is the preferred format for most professional advertising audio post work.

OMF is older and has a file size limit of 2GB. It supports fewer metadata types and has limited compatibility with certain editing systems. AAF is newer, has no practical size limit, supports more robust metadata, and is more broadly compatible with modern Pro Tools sessions.

For most advertising projects, export an AAF with embedded audio (if the file will be under 4GB) or with linked media (if larger, with all referenced audio files delivered in a separate folder). Swell provides a detailed OMF/AAF export guide for Avid Media Composer, Adobe Premiere Pro, and Apple Final Cut Pro — email us for the guide before your first handoff.

Common handoff problems that add cost and time: unlabeled tracks; mixed sample rates (all audio in a session should be 48kHz for video post); missing media; dialogue and music on the same unlabeled track; reference video not included alongside the audio session.

Advertising audio deliverables are standardly delivered at 48kHz sample rate and 24-bit depth for broadcast and digital distribution.

48kHz/24-bit is the broadcast standard for video-synchronized audio worldwide. It provides sufficient frequency range and dynamic headroom for professional broadcast delivery while being compatible with all major distribution systems.

16-bit is acceptable for some digital-only deliverables but is not recommended for broadcast mastering — the reduced dynamic range headroom leaves less room for loudness management and can result in audible artifacts in quiet passages.

192kHz high-resolution audio is not used for broadcast advertising deliverables. It provides no perceptible quality benefit for distribution to broadcast or streaming and is unnecessarily large for transmission.

File format: WAV or AIFF are both acceptable. MP3 is not appropriate for broadcast master deliverables — use WAV.

Broadcast network requirements vary, but a standard national broadcast commercial delivery package typically includes: a full stereo mix, a 5.1 surround mix (for networks that require it), an M&E mix, and stem mixes — all meeting the network's loudness and format specifications.

Standard deliverables for a national broadcast campaign:

• Full stereo mix — 48kHz/24-bit WAV, –24 LKFS integrated, –2 dBTP maximum true peak
• 5.1 surround mix — required by some broadcast networks; delivered as a multichannel WAV or as discrete channel files
• M&E mix — same spec as full mix, dialogue-free; essential for international versioning
• Dialogue stem, music stem, SFX stem — separate files for each audio element
• Textless versions — if the spot contains on-screen text that varies by market

For specific network delivery requirements (NBC, CBS, ABC, Fox, ESPN, etc.), Swell works from the network's technical spec sheet. Send us the spec sheet at project start and we'll confirm delivery against every requirement on it.

A QC (quality control) fail occurs when a delivered audio file doesn't meet the technical specifications required by the broadcast network or platform — causing the file to be rejected and returned for correction.

Common causes of QC failures in advertising audio:

• Loudness out of spec — the most common. Either too loud (above the loudness ceiling) or too quiet (below the target). Every platform has specific requirements.
• True peak violations — momentary peaks above the maximum true peak level (typically –2 dBTP for broadcast) that cause distortion during digital transmission
• Sample rate mismatch — delivering 44.1kHz audio to a system expecting 48kHz
• File format issues — delivering MP3 where WAV is required, or incorrect bit depth
• Phase problems — mono compatibility issues that cause audio to cancel or distort when the stereo signal is summed to mono (common in some broadcast transmission systems)
• Dropout or artifact — clicks, pops, or silent frames that weren't caught in mix review

Every Swell deliverable goes through a documented QC pass before transmission. We use a dedicated QC loudness meter (Nugen or iZotope standard) to verify every file against its target spec before it leaves the building. A file from Swell arrives ready to air.

Yes — ideally. A broadcast mix (–24 LKFS) uploaded directly to YouTube (–14 LUFS target) will be automatically turned down by YouTube's loudness normalization, which can change the relative balance of music, dialogue, and effects in ways you didn't intend.

A platform-specific mix isn't always a full remix from scratch. In many cases, it's a relative level adjustment to the existing mix, followed by loudness-normalization to the correct target. The sound design and music balance remain the same; the overall loudness floor changes.

For clients running campaigns across broadcast and multiple digital platforms, Swell delivers platform-specific versions as a standard part of the project scope. The additional cost is modest relative to the campaign media spend, and it ensures the spot sounds as intended in every context where it appears.

Source-Connect is a plug-in that runs within Pro Tools and routes professional-quality audio in real time between two studios or between a studio and any remote location, using a standard internet connection.

For a supervised mix session via Source-Connect: the client joins a video call (typically Zoom) for visual communication and uses Source-Connect Standard or Pro (available as a free app for remote participants) to receive broadcast-quality audio directly from the Pro Tools session in real time. They hear exactly what the engineer hears, can communicate in real time, and approve changes as they're made.

Requirements for remote supervision via Source-Connect: a stable internet connection (minimum 5Mbps upload/download, 25Mbps recommended for optimal quality), the Source-Connect Remote app (free to download), and a decent pair of headphones or monitor speakers. No professional audio equipment required on the client side.

Swell uses Source-Connect Standard for monitoring sessions and Source-Connect Pro for projects requiring remote talent recording (ADR, voiceover) where the remote studio needs to send audio back to Airship Labs.

A music cue sheet is a document that lists every piece of music used in a video production — title, composer, publisher, ISRC code, timing, and type of use — required by broadcast networks and performing rights organizations (PROs) for royalty reporting purposes.

Music cue sheets are required for: any project broadcast on a network that reports to ASCAP, BMI, or SESAC; most Netflix and streaming platform deliveries; and any project where PRO royalties are tracked.

For advertising specifically: broadcast networks require cue sheets so that performing rights organizations can collect and distribute performance royalties to composers and publishers whose music appeared in commercials. This is separate from the sync and master licensing process — the cue sheet documents the use after the license has been granted.

Swell prepares music cue sheets for projects where they're required and includes them as part of the final documentation package. If you're unsure whether your project requires a cue sheet, ask us — it depends on the distribution context.