Mix quality checker. Upload your track and AI evaluates balance, stereo imaging, dynamics, and clarity.
Select the AI model for audio analysis. Different models may have different capabilities.
Record audio directly from your microphone
To check how good your mix is, upload the track and the AI evaluates it like a mix engineer doing a paid critique: an overall mix rating out of 10, a frequency balance breakdown across low end, low mids, high mids, and highs that identifies what sits well and what is masked, a stereo imaging and width assessment, and a dynamic range read that says whether the track is over-compressed, breathing, or punchy. It also assesses vocal or lead clarity against the backing, the single most common mix complaint. The output ends with specific, actionable mixing tips: EQ moves, level changes, panning decisions, and reverb sends to try, written in direct producer language rather than generic advice. It is the second pair of ears most home producers do not have, useful before sending a mix to a client, uploading to streaming, or paying for mastering (mastering polishes a good mix but cannot rescue a masked one).
Upload your mix and the AI runs a structured evaluation. The overall rating out of 10 anchors where the mix stands. Frequency balance analysis works through the spectrum in four bands (low end, low mids, high mids, highs), identifying buildup, harshness, and masking, the usual suspect being low mids swallowing vocal warmth. Stereo assessment evaluates imaging and width: whether elements are placed deliberately, whether the sides feel wide without the center collapsing. Dynamics analysis judges compression behavior, from over-squashed and fatiguing to dynamic and punchy. Clarity assessment checks whether the vocal or lead element cuts through the backing or fights it. Each finding converts into a concrete suggestion (an EQ cut at a stated range, a level change, a panning move, a reverb send adjustment), so you leave with a to-do list, not a diagnosis.
Upload the track and you get a rating out of 10 backed by specifics: frequency balance across four bands, stereo width and imaging, dynamics (over-compressed, breathing, or punchy), and whether your vocal or lead survives against the backing. The closing section is actionable: EQ moves, level changes, and panning to try.
Useful, yes, if you treat it as a fresh pair of experienced ears rather than a mastering engineer replacement. Its advantage is zero ear fatigue and no attachment to your decisions; after fifty listens you stop hearing the harsh 3 kHz buildup, and an outside read catches what familiarity hides.
Dynamics assessment is a core check: whether the mix breathes, pumps, or has been flattened into a loud brick. Over-compression is the most common self-mix problem, partly because loudness flatters on first listen. The read describes what the compression is doing audibly and where backing off would restore punch.
Usually masking, not level: instruments occupying the same midrange frequencies as the voice, so turning the vocal up just makes everything loud. The clarity check identifies what is fighting your lead and suggests the standard fixes, carving competing instruments around the vocal range, automation, or rebalancing the arrangement itself.
It hears the rendered file, not your session, so it reports symptoms and likely causes rather than exact plugin settings. Upload quality matters: a heavily compressed MP3 adds artifacts that muddy the read, so use WAV or high-bitrate files. For release decisions, pair it with metering and a reference listen on multiple systems.
Before, ideally. Mastering polishes a good mix but cannot fix masking, harsh resonances, or a weak low end, and a limiter on top makes dynamics problems harder to diagnose. Run the unmastered mix through, fix what it flags, then master. Checking the mastered version afterward as a final sanity pass also works.
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