How to Deliver TV and Radio Commercial Narration Correctly: A Practical Guide to ARIB TR-B32, Loudness, and Audio Specs

TV and Radio Commercials Cannot Be Delivered as “the Same Narration”

TV commercials and radio commercials are both short-form ads, but the required audio specs are quite different. In real production, if you assume that the same script reading can be delivered with the same sound, revisions are very likely. As a narrator and director, I constantly feel that what matters is not only performance, but also designing the audio for the medium.

For TV commercials, loudness control is strictly tied to broadcast operation. In Japan, based on ARIB TR-B32, the common operational target is -24 LKFS ±1 dB. This is not just about peak level; it is about aligning perceived loudness across programs and commercials. Radio commercials, on the other hand, still vary by station, network, and delivery rules, and some are managed mainly by peak level. In simple terms, TV is best approached from a loudness-first perspective, while radio is better approached from the standpoint of effective level and intelligibility.

How Narrators Should Understand ARIB TR-B32

ARIB TR-B32 is fundamentally a technical guideline for broadcast loudness operation, but it is highly relevant to narrators as well. If the vocal dynamics are too unstable during recording, strong compression will be needed in final mixing, and that often damages the quality of the spoken word.

In practical terms, it is useful to record narration with peaks around -12 dBFS while maintaining a healthy average speaking level and good S/N ratio. During final MA or mix, engineers typically check integrated loudness with tools such as Youlean Loudness Meter, NUGEN VisLM, or iZotope Insight 2, and aim to land the full TV commercial around -24 LKFS. For True Peak, keeping it below -1.0 dBTP is common, and below -2.0 dBTP is even safer.

From a narrator’s point of view, the key lesson is this: when a loudness standard exists, “pushing hard with volume” is rarely the best strategy. Level can be raised later, but crushed consonants and unnatural vocal pressure cannot be restored. The more formal the TV commercial, the more powerful a controlled, centered voice becomes.

Sampling Rate and Bit Depth: Higher Is Not Always Better

Another common source of confusion is sampling rate and bit depth. For TV commercials, 48 kHz / 24-bit WAV remains the most practical standard. It aligns well with video workflows and is easy for MA studios to handle. For radio commercials, some stations also require 48 kHz / 24-bit, while others still request 44.1 kHz / 16-bit WAV. The important point is this: do not degrade your master recording by forcing it into the final spec too early.

A good workflow is to record at 48 kHz / 24-bit or 96 kHz / 24-bit, then edit and process before exporting to the required delivery format. However, 96 kHz can also capture more room noise and expose high-frequency issues in home studios, so in many cases 48 kHz / 24-bit is more stable. For bit depth, 24-bit is advantageous during recording and editing. If 16-bit delivery is required, proper dithering should be applied at the final export stage. DAWs such as Pro Tools, Nuendo, Adobe Audition, and Reaper all support this workflow.

What Should Change Between TV and Radio: Performance and Processing

The difference in specs is not only a technical setup issue. TV commercials must coexist with visuals, sound effects, and music, so narration depends on midrange presence and consonant clarity. A slight EQ adjustment around 2 kHz to 4 kHz, plus a gentle high-pass below 150 Hz, often improves articulation. For compression, a ratio of 2:1 to 3:1 with 2 to 4 dB of gain reduction is usually natural.

Radio commercials are different because there are no visuals; the voice itself becomes the product experience. That means not only fast information delivery but also listening comfort is essential. Excessive high-end boost can sound harsh on AM-style playback or small speakers. In radio work, I usually create a slightly closer vocal feel than for TV while handling sibilance very carefully. A de-esser centered around 6 kHz to 8 kHz is often effective, as long as it is not overdone.

A Delivery Checklist That Prevents Real-World Mistakes

Here is a checklist that genuinely helps in professional delivery.
1. Confirm the medium: TV, radio, or web crossover.
2. Confirm the loudness requirement: Is TV delivery operated under ARIB TR-B32?
3. Confirm file format: WAV, mono or stereo, interleaved or not.
4. Confirm sampling rate: 48 kHz or 44.1 kHz.
5. Confirm bit depth: 24-bit or 16-bit.
6. Confirm duration: 15, 20, or 30 seconds, including ending treatment.
7. Confirm head and tail silence: For example, 0.2 sec head and 0.5 sec tail if required.
8. Confirm file naming rules: Project name, version, take number.
9. Check with loudness meter: LKFS, True Peak, and short-term loudness.
10. Check playback environment: Not only headphones, but also small speakers.

Narration work does not end when a good voice is recorded. It becomes professional only when it connects smoothly to the operational workflow of broadcasters, agencies, MA studios, and clients. A narrator who understands the differences between TV and radio commercial specs is trusted immediately. Read the specifications before you read the script. That habit creates work with fewer revisions.