Everyone’s experienced it. You’re watching a film, a news report or a soccer match, the sound is set just right, then suddenly there’s a commercial break and you scramble for the remote control. It’s not your imagination: the volume of commercials does seem louder than TV programs. Viewers have been complaining about this for decades, and it’s been sufficiently documented for the broadcasting authorities to seriously look into it. This phenomenon is not random or due to a broadcasting error: it’s based on a precise technique and well-honed production strategies.
One might initially assume that television channels increase the volume during commercials. However, this is not entirely accurate. The maximum volume of a television programme remains limited by the same technical standard for all content. On the other hand, commercials utilise a specific sound processing technique known as dynamic compression.
In simple terms, this technique consists of reducing the difference between the loudest and softest sounds in an audio track. Quiet passages are amplified to approach the highest permitted sound level. As a result, even if the commercial does not exceed the maximum volume of the previous program, it sounds much denser and therefore louder.
In concrete terms, the human ear is sensitive not only to the intensity of a sound, but also to its duration. A sound that stays louder for longer seems more powerful. But during a short commercial, every second counts. Sound engineers therefore eliminate the slightest pause between two sentances, filling the entire sound space with music, effects and an omnipresent voice. This compact, unvarying sound fatigues the listener and creates an impression of excess. It’s the same principle as in the “loudness war” that marked the recording industry in the 1990s. Music producers compressed tracks to make them sound louder than the competition on the radio or in a CD player. On television, the mechanism is identical: the aim is to grab the viewer’s attention by any means possible.
Advertising sound engineers know that this choice is not neutral. The louder and more present the message, the more likely the viewer is to remember it. The brain assimilates this constant volume as a high priority signal. This sensory conditioning has proven its effectiveness in advertising, but it also has a perverse effect: it ends up being annoying. Many viewers turn down or mute the volume, or even change channels, which reduces the impact of the message. Yet advertisers continue to rely on loudness, for want of a collective solution. If a single brand decided to broadcast its commercials at a lower perceived volume, it would immediately be less visible than its competitors.
A total ban on the practice in California
On the other side of the Atlantic, California has decided to go one step further. In October 2025, the state passed a law explicitly banning all advertising that exceeds the volume of the interrupted TV program. This measure, welcomed by a large proportion of the public, applies to both traditional channels and streaming platforms. Governor Gavin Newsom summed up the philosophy behind the law: “We heard Californians loud and clear, and what’s clear is that they don’t want commercials at a volume any louder than the level at which they were previously enjoying a program.”
This regulation is inspired by an existing federal rule, the CALM Act, passed in the United States in 2010, rarely strictly enforced. California is therefore taking the lead by imposing stricter local controls, with the possibility of financial penalties for offenders. It remains to be seen whether other states will follow suit, or whether the streaming industry will attempt to bypass these new limits.
Measures implemented in France by Arcom
In France, the audiovisual regulator Arcom (ex-CSA) has long been examining the problem. The institution has noted that the widespread introduction of digital terrestrial television has amplified the phenomenon. The digital nature of DTT facilitates the use of dynamic compression, and thus the fine-tuning of sound levels. To remedy this situation, Arcom has set up a concerted regulation system involving channels, advertising agencies and advertisers. The aim is to guarantee a consist level between programs and commercials, without totally prohibiting the variation in intensity that is inevitable in a cut.
In particular, this regulation requires that the loudest moments of an advertisement do not, on average, exceed the loudest parts of the program it interrupts. In theory, this ensures a harmonious succession of content and advertising. In practice, discrepancies are still noticeable, as auditory perception remains subjective and depends on numerous parameters: the type of TV, the compression applied by the channel, and viewing distance. But at the very least, the approach has helped to reduce the most blatant excesses and open up a dialogue between industry players. Arcom also encourages viewers to report commercials tht seem too loud, which helps to refine monitoring.
The feeling that commercials are louder is not an impression, but the direct consequence of technical choices made by sound engineers. Producers exploit the margins offered by dynamic compression to capture attention at all costs, even if it means making the sound experience unpleasant. In France, Arcom is attempting to regulate these practices through consultation, while California is opting for a ban. But as long as the advertising model is based on volume competition, the balance will remain fragile. The next step could involve the various streaming platforms, which are experiencing the same problem. In the meantime, viewers will continue to keep the remote control close at hand.
