Sound Forge Pro Statistics is a read-only report for the current file region. Open Tools → Statistics to inspect sample values, RMS, average value, zero crossings, maximum true peak, integrated loudness, loudness range, and the maximum short-term and momentary readings. It measures; it does not normalize, limit, repair, or export the audio.
Part of the Sound Forge Pro 2026 Guide. For the processing sequence around this report, use the Sound Forge mastering guide.
The official EBU R128 answer: for generic linear PCM audio in production, the maximum permitted true-peak level is −1 dBTP. That is not a universal ceiling for every codec or delivery system. EBU Tech 3343 gives −2 dBTP for examples such as MPEG-1 Layer II and Dolby AC-3. The programme-loudness target is −23 LUFS. Sound Forge can report the measurements, but the destination specification decides whether the file passes.
Sound Forge is the measuring application; it is not the authority that defines EBU R128 or ATSC A/85. Use the software readout and the current delivery document together: one reports the file, while the other defines whether that result passes.
How to Run Statistics on the Right Audio
- Open the final source file. Use the same sample rate, bit depth, and channel layout that you intend to check.
- Choose the region deliberately. Statistics works on the selected sound-file region. For a delivery check, make an explicit full-file selection or confirm that no unintended partial region is active.
- Open Tools → Statistics. Sound Forge displays the report for that region.
- Set Ruler Format and Level format if needed. These controls change how positions and sample-related levels are displayed; they do not change the audio.
- Record the values relevant to the job. For broadcast loudness that is normally integrated loudness, loudness range, and maximum true peak. For a Noise Gate threshold or a fault location, sample values, RMS, and positions can matter more.
- Copy the report. Use Copy to clipboard for the complete window, or select table cells and press Ctrl+C for only the fields you need.
- Process, then measure again. Compare the post-process report with the baseline and with the actual delivery specification.
The current Sound Forge Pro 2026 Statistics help documents the field names and their behavior. It is the primary reference for the application. The EBU, ATSC, broadcaster, platform, or client document remains the primary reference for a target.
What Every Statistics Field Actually Means
Ruler Format and Level format
Ruler Format controls how the cursor and minimum/maximum positions are shown. Level format controls the display of the sample value at the cursor, minimum and maximum sample values, RMS, and average value. Sound Forge can show sample values, percent, or decibels. A format change is only a different representation of the same analysis.
Cursor, minimum, and maximum sample values
The cursor position and its sample value describe one point. The minimum and maximum fields report the extreme sample values and where they occur. Those positions are useful because a number alone cannot tell you whether the event is a clean limited transient, a clipped plateau, a click, or an intentional peak. Jump to the reported position, zoom in, and listen before choosing a repair.
The official help also recommends running Statistics on a region of noisy silence when you need the noise amplitude for the Sound Forge Noise Gate. Keep the region representative: a breath, chair movement, or tail of music is not room noise and will produce a misleading threshold.
RMS level
Sound Forge defines RMS relative to the RMS value of a maximum-amplitude square wave. Its own help warns that RMS relates to level on short intervals but becomes less meaningful across a long selection with large volume variation. That is a useful correction to the idea that one full-file RMS number is always a loudness verdict.
Use RMS when the client or platform explicitly specifies RMS, or when a short, controlled selection makes the number useful. Don’t convert a broadcast LUFS target into a made-up RMS equivalent. The weighting and gating are different.
Average value and possible DC offset
Average value is the sum of the samples divided by their count. The help says a value that does not equal zero can indicate DC offset. “Can indicate” is the important wording: it is a diagnostic clue, not proof that every tiny deviation needs processing. Inspect the waveform and confirm the problem before applying a DC-offset correction.
Zero crossings
Sound Forge counts the number of negative-to-positive crossings per second. That can provide a rough frequency estimate for a very simple waveform. It is not a dependable pitch detector for speech, music, noise, or a polyphonic mix, and it does not tell you whether an edit point is click-free.
Maximum true peak and filtered true peak
The maximum true-peak field estimates the continuous waveform peak using a higher sample rate than the ordinary maximum-sample calculation. That is why a true-peak result can be higher than the largest stored sample. The report also includes a filtered true-peak value and position. Sound Forge notes that asymmetrical signals or DC offset can affect peak calculation; the filtered result uses the maximum of the filtered and unfiltered signals.
The current Sound Forge help describes these displayed values in dB FS. External standards normally express a maximum true-peak limit in dBTP. Preserve the label and value shown by the application in your session report, then compare it with the terminology in the delivery specification instead of silently changing units.
Integrated, LRA, maximum short-term, and maximum momentary loudness
Integrated loudness is the overall gated programme loudness across the measured region. Loudness Range (LRA) describes the distribution of loudness variation in LU. Maximum Short-Term uses three-second windows, while Maximum Momentary uses 400-millisecond windows. Those time windows match the current Sound Forge documentation and EBU Mode terminology.
LRA is context, not a universal pass/fail number. EBU Tech 3343 explicitly says R128 does not impose one maximum permitted LRA; a broadcaster may set limits for a distribution path. Avoid generic claims such as “4–6 LU is correct for pop” unless the actual brief says so.
EBU R128: What −1 dBTP Officially Applies To
EBU R128 version 5.0 recommends programme-loudness normalization at −23 LUFS and uses Programme Loudness, Loudness Range, and Maximum True Peak Level as the core descriptors. The companion production guidelines state that generic linear PCM signals in production must not exceed −1 dBTP.
The same guidelines explain why a lower ceiling may be required later in the chain. For MPEG-1 Layer II and Dolby AC-3 examples, the recommendation is −2 dBTP to leave more headroom for data reduction. A broadcaster or delivery contract can be stricter. The honest answer to “Is −1 dBTP official?” is therefore: yes for the EBU R128 generic PCM production case, not as a universal limit for every encoded deliverable.
The measurement basis is ITU-R BS.1770-5, which is currently in force. Sound Forge gives you a practical file-based readout; it does not certify the complete production chain or replace a broadcaster’s approved QC procedure.
ATSC A/85 Changed in July 2026
The current North American reference is ATSC A/85:2026-07, approved July 8, 2026. Its one-page Annex M lists −24 LKFS for content delivered without metadata when the parties have not agreed on another target, and a maximum true peak of −2 dBTP. For streaming services, the new edition recommends one consistent target between −23 and −27 LKFS unless the exchange parties agree otherwise.
Sound Forge’s Loudness Configuration still presents an ATSC A85 mode at −24 and a maximum TP value of −2. That preset is useful, but final acceptance follows the current contract and the type of content, measurement method, dialogue gating, metadata, and delivery path. “ATSC is −24” is not enough information on its own.
The Before-and-After Workflow That Does Not Lie
The rule is simple: Statistics is a report, not a target generator. Save one report before processing and one after. The baseline explains what the processing changed; the final report answers whether the file meets the brief.
Start with the exact delivery region. Copy integrated loudness, maximum true peak, LRA, and any client-specific field. Apply the smallest processing chain that solves the problem. Then measure the same region again. If the selection, channel layout, or loudness mode changes between passes, the comparison is invalid.
Pure gain arithmetic is useful because it exposes impossible targets. If a file measures −18 LUFS and roughly −2 dB true peak, reaching −14 LUFS by gain alone requires about +4 dB and predicts a true peak around +2 dB before any codec or sample-rate conversion. There is not enough headroom. The practical choices are a different loudness goal, controlled dynamic processing, or a mix revision—not wishful arithmetic.
For the controls that actually change level, use the current Peak, RMS, and Loudness Normalize guide. Run Statistics again afterward; do not assume the requested gain, limiter ceiling, or preset equals the rendered result.
Statistics vs Loudness Meters vs Normalize
Statistics is file- or region-based analysis with locations and a copyable report. Loudness Meters track momentary, short-term, integrated, LRA, and true peak during playback. Normalize is a processing command that scans and changes level according to its selected mode.
The current Sound Forge 2026 Loudness Meters help says the meters are integrated into the channel meters and reset when playback restarts. They are the better view for watching behavior through time — I use Statistics for the verdict and the meters for the behaviour, and mixing those two roles is how bad delivery decisions get made. For a dedicated meter walkthrough, use the Sound Forge Loudness Meters guide. Statistics is the better artifact for a fixed before/after file check. Neither is inherently “more accurate” simply because one is offline; accuracy depends on the algorithm, mode, measured region, channel handling, and settings.
For six-channel material, check Options → Preferences → Status → Enable surround processing for files with 6 channels. Sound Forge applies about 1.5 dB gain to the left and right surround channels when that option is enabled; otherwise all channels contribute equally. Two engineers can get different loudness readings from the same six-channel file if this preference differs.
Final Export Checklist
- Measure the exact full programme or region required by the specification.
- Record the application version, loudness mode, channel layout, and surround preference.
- Compare integrated loudness with the named delivery target—not a generic streaming blog number.
- Compare maximum true peak with the correct production, codec, or distribution limit.
- Treat LRA as a descriptor unless the destination publishes a limit.
- Use RMS only where the brief or a controlled short-region test calls for it.
- Investigate reported sample positions before declaring clipping or DC offset.
- Copy the final report and keep it with the exported file.
Frequently Asked Questions
Where is Statistics in Sound Forge Pro 2026?
Open the audio, choose the intended region, and go to Tools → Statistics. The dialog reports sample values and positions, RMS, average value, zero crossings, maximum true peak, integrated loudness, LRA, and maximum short-term and momentary loudness.
Is −1 dBTP the official EBU R128 maximum true peak?
Yes, for generic linear PCM audio in production. EBU Tech 3343 says that signal must not exceed −1 dBTP. It also gives −2 dBTP for examples such as MPEG-1 Layer II and Dolby AC-3, and a broadcaster or distribution system can require a lower ceiling.
Does Statistics change or normalize the audio?
No. Statistics is an analysis report. Use Process → Normalize, Process → Volume, a limiter, or another appropriate processor to change the file, then run Statistics again on the same region.
Does Statistics analyze a selection or the whole file?
The current help describes analysis of the selected sound-file region. For final delivery, make the full programme an explicit selection or verify that no unintended partial selection is active. For diagnostics, select only the quiet, loud, or damaged region you intend to measure.
What is the difference between sample peak and true peak?
Sample peak is the largest stored sample value. True peak estimates the peak of the reconstructed continuous waveform using a higher sample rate, so it can be higher than the largest stored sample. That matters when downstream conversion or encoding could overload between samples.
What is the difference between Statistics, Loudness Meters, and Normalize?
Statistics creates a fixed report for a file region. Loudness Meters show changing measurements during playback. Normalize scans and changes level in the selected Peak, RMS, or Loudness mode. Use the meters to observe, Statistics to document, and Normalize only when a level change is actually required.
What are the current ATSC A/85 loudness and true-peak values?
ATSC A/85:2026-07 lists −24 LKFS for delivery without metadata when no other target is agreed and −2 dBTP maximum true peak. Its new streaming guidance recommends one target between −23 and −27 LKFS unless the parties agree otherwise. Confirm the exact contract and content method before delivery.
Last fact-checked: August 2, 2026 against Boris FX Sound Forge 2026 help, EBU R128 v5.0 and Tech 3343, ITU-R BS.1770-5, and ATSC A/85:2026-07.