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Quality Mode controls processing power usage.

Lite — Basic processing, lowest CPU. Normal — Recommended. Dynamic EQ + 2× oversampling. HQ — Maximum quality. Linear Phase EQ + spectral processing (~85ms latency). Export — Automatic during export. All features at 4× oversampling.
Normal mode suits most work. Use HQ for final masters where phase accuracy matters — classical, jazz, acoustic.
Learn more — Quality Modes →
A = Original unprocessed audio. B = Your mastered version with all processing.
Always A/B before exporting. If B sounds better at matched volume (not just louder), your processing is genuinely improving the track.
Learn more — A/B & Signal Chain →
🎵
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Drop multiple files for multi-track stem mixing
Parametric EQ
Parametric EQ — Up to 31 bands (20 Hz – 20 kHz). Each band: frequency, gain, Q.
• Double-click to add · Click to select · Drag to adjust · Scroll for Q · Right-click to remove
Start with broad, gentle moves (Q ≈ 0.5–1.5, ±1–3 dB). Cut muddy 200–400 Hz, boost sparkle at 10–12 kHz shelf. Narrow cuts (Q>4) for resonances.
Min-Phase — Zero latency, native processing. 95% of pro mastering uses this.
Linear Phase — FFT-based, no phase distortion, ~85ms latency. Best for transient-heavy acoustic material.
Use Min-Phase normally. Switch to Linear Phase for broad boosts on acoustic drums, piano, or classical — especially if you hear transient smearing.
Dbl-click add · Click select · Drag move · Shift=fine · Scroll=Q · R-click=remove
Q:
0 / 31 bands
Loudness
-∞LUFS
Momentary
S-∞
I-∞
LUFS — Perceived loudness (ITU-R BS.1770-4). M = Momentary (400ms), S = Short-term (3s), I = Integrated (full track, gated). Targets: Spotify/YouTube -14, Apple -16, CD -9 to -11, Broadcast -23.
Integrated LUFS is the number streaming platforms use. Aim for -14 LUFS (I) for Spotify.
True Peak
L
-∞
R
-∞
True Peak (dBTP) — 4× oversampled peak detection (ITU-R BS.1770-4). Catches inter-sample peaks that simple sample peak misses. Keep below -1.0 dBTP for streaming.
Lossy codecs (MP3, AAC) create inter-sample peaks up to +3 dB above 0 dBFS. True Peak catches these.
Stereo
Correlation —
+1.0 = Mono, 0.0 = Very wide (mono issues), -1.0 = Out of phase. Healthy: 0.3–1.0.
Most music: 0.4–0.85. Below 0.2 = vanishes on mono speakers. Consistently 1.0 = effectively mono.
Input
Input Stage — Level trim + HPF before processing.
Adjust gain so peaks hit -6 to -3 dBFS for optimal compressor behavior.
Gain
0.0 dB
Input Gain -12 to +12 dB. Clean level adjustment, no coloration.
High-Pass
Off
HPF removes sub-bass rumble. Music: 20-30 Hz. Vocals: 60-80 Hz. Never above 100 Hz for full masters.
🎨 ToneMap
ToneMap — Shape your sound with four intuitive axes. Adjustments are applied on top of your manual settings.
Green zone (0–60%) = safe, professional range. Orange (60–80%) = experimental. Red (80–100%) = extreme, usually too much.
Warm Bright
Neutral — no adjustment
Closed Open
Neutral — no adjustment
Narrow Wide
Neutral — no adjustment
Soft Sharp
Neutral — no adjustment
Compressor
4-Band Multiband Compressor — LR4 crossovers. Controls dynamics independently per frequency range. Each band: Threshold (when compression starts), Ratio (how much), Attack/Release (speed).
Boomy bass? Low band 3:1, 20ms attack. Vocals buried? High-Mid 2:1, slow attack. Start gentle (2:1, -15dB threshold) and increase.
Crossovers
200 Hz
2.0 kHz
8.0 kHz
Parallel Blend (NY)0%
LOW
LOW-MID
HI-MID
HIGH
Thresh-20 dB
Ratio2.0:1
Atk20 ms
Rel150 ms
Gain0.0 dB
0.0 dB
Thresh-18 dB
Ratio2.0:1
Atk15 ms
Rel120 ms
Gain0.0 dB
0.0 dB
Thresh-16 dB
Ratio2.0:1
Atk10 ms
Rel100 ms
Gain0.0 dB
0.0 dB
Thresh-14 dB
Ratio2.0:1
Atk5 ms
Rel80 ms
Gain0.0 dB
0.0 dB
Stereo
M/S Processing — Mid = center (vocals, kick, bass). Side = panned (guitars, reverb, ambience).
Width: boost Side for wider image. Bass Mono: mono below frequency (essential for vinyl/club). Mid/Side gains for balance.
Width
100%
Width 0–200%. 0% = mono, 100% = original, 200% = maximum spread. Keep 80–150% for natural results.
Mid Gain0.0 dB
Side Gain0.0 dB
Bass Mono
Off
Bass Mono collapses stereo below this frequency. Essential for vinyl cutting (below 300 Hz) and club playback (below 100–150 Hz).
M/S EQ
M/S EQ — Independent EQ for Mid (center: vocals, kick, bass) and Side (stereo: guitars, reverb, air). Cut Side Lo to clean mud from sides. Boost Side Hi for air/shimmer. Cut Mid Hi to tame harsh vocals.
MID
Lo 200 Hz 0.0
Mid 1 kHz 0.0
Hi 8 kHz 0.0
SIDE
Lo 200 Hz 0.0
Mid 1 kHz 0.0
Hi 8 kHz 0.0
Multiband Width
Multiband Width — Independent stereo width per frequency band. Widen highs for air, narrow lows for tight bass. Overrides the main Width knob when active.
Lo Width100%
Mid Width100%
Hi Width100%
Lo/Mid250 Hz
Mid/Hi4.0 kHz
Saturation
Tube — Warm, even harmonics. Tape — Glue + vintage. Transistor — Aggressive edge. Clean — Gentle peak control.
Pop/rock: Tape 10–20%. EDM/hip-hop: Transistor 15–25%. Classical: Clean 5% or off. Always A/B.
Mode
Drive0%
Mix100%
Transient Shaper
Transient Shaper — Controls attack punch and sustain body independently. Attack: positive = punchier transients (drums, plucks), negative = softer attack. Sustain: positive = bigger body/tail, negative = tighter/dryer sound.
Flat AI drums? Attack +40, Sustain -10. Lifeless guitar? Attack +20, Sustain +30.
Attack0
Sustain0
Sensitivity50%
1.0×
Sub-Bass
Sub-Bass Enhancer — Synthesizes missing sub-harmonic fundamentals. AI-generated bass often lacks true sub content (20–60 Hz). This detects the fundamental and injects an octave-down sine.
Thin club bass? Level 60%, Ceiling 80 Hz. Rumbling too much? Lower Ceiling to 60 Hz.
Level0%
Ceiling80 Hz
Blend30%
— Hz
Exciter
Harmonic Exciter — Generates upper harmonics for presence, air, and sparkle. Drive: intensity of harmonic generation. HPF: only frequencies above this are excited (lower = more body, higher = just air). Mode: Warm (smooth even harmonics), Bright (clean odd), Aggressive (gritty).
Dull AI master? Drive 40%, HPF 2.5 kHz, Warm. Need air? HPF 5 kHz, Mix 30%, Bright.
Mode
Drive10%
Mix25%
HPF3.0 kHz
— dB
Limiter / Output
Limiter — Last stage. Prevents peaks above ceiling. Transparent: linear release (classical/jazz). Balanced: adaptive (all-rounder). Aggressive: pumping energy (pop/EDM).
Set ceiling to -1.0 dBFS for streaming. The limiter catches peaks; use Output Gain to push into it for loudness.
Algorithm
Ceiling-1.0 dB
Release100 ms
GR: 0.0 dB
Output Gain
0.0 dB
Output Gain -12 to +12 dB. Final level trim. Push into the limiter for loudness, or reduce for dynamics.
De-Esser
De-Esser — Tames harsh sibilance ("s", "t", "sh" sounds) that mastering chain compression and exciter amplify. Split-band: only the sibilant frequency range is reduced — the rest of the signal is untouched.
Start with Frequency at 6–7 kHz for vocals. Lower threshold for more aggressive de-essing. Range controls maximum reduction.
Frequency6.0 kHz
Threshold-20.0 dB
Range-6.0 dB
Attack2.0 ms
Release30 ms
GR: 0.0 dB
AI Artifact Suppressor
AI Artifact Suppressor — Removes artifacts specific to AI-generated music. Shimmer: metallic high-frequency glare (6–14 kHz). Fog: mid-range haze without harmonic structure (400–2000 Hz). Pitch: micro-tonal warbling in vocals/instruments.
Start with Strength at 50%. Increase for heavily processed AI tracks. Use Shimmer/Fog/Pitch controls to target specific problems. Always A/B compare.
Strength20%
Shimmer Thresh10.0 dB
Fog Reduction6.0 dB
Pitch Sensitivity50%
— idle
Vocal Clarity
Vocal Clarity — One slider to optimize vocals. Cuts mud (300 Hz), boosts presence (3.5 kHz), and auto-engages de-esser.
Set to 40–60% for Suno/Udio vocals. Use Mud Cut and Presence sub-controls for fine-tuning. Works alongside ToneMap without conflict.
Clarity0%
Mud Cut50%
Presence50%
0:00 / 0:00
Export
Export renders your audio offline with all current settings. What you hear is what you get — no hidden processing changes.
16-bit WAV with POW-R 3 dithering suits streaming (Spotify, Apple Music). 24-bit WAV for further mixing or archival.
Platform Preview
Platform Preview renders your master offline with full export quality, then simulates how streaming platforms will process it. Hear the difference before uploading.
YouTube and Spotify normalize to -14 LUFS and encode with lossy codecs that subtly roll off high frequencies. Phone speakers can't reproduce deep bass.
Pro Master Guide