Batch Master (top of the page)
Runs every track through the same EQ/Compressor/Limiter chain - the one you dial in below - after level-matching each to one shared loudness target.
Shaper Track (everything below it)
Where you shape that chain - in detail, on one track, against a reference. Whatever you dial in here is exactly what Batch Master applies to the whole set.
Hover anything
Most labels and module headers carry a quick, plain-language explanation on hover - the same wording as this manual, right where you're already looking. No need to memorize what Threshold or Knee means before you start.
Four ways to work, fastest to most hands-on. Each builds on the one before - pick whichever matches how much control you want over the sound.
1. Quick Master
Upload → Preview → Render → Preview & Trim → Download
Batch Master alone, using whatever chain is already dialed in below. Fastest route to a finished file.
2. Shape the Chain First
Upload → Shape the Chain → Preview → Render → Preview & Trim → Download
Same steps, with one addition: dial in EQ, Compressor, Saturation, and Limiter before you render, so the whole set gets your sound instead of whatever was last left in place.
3. Shaper Track, in Detail
Load a Track → Shape the Chain → Preview → Render the Set → Download
The Shaper Track is the single-track workspace below the batch table - where EQ, Compressor, Saturation, and Limiter actually get shaped by ear, on one file, before Batch Master applies that same chain to the whole set. Once one's loaded, Swap Shaper Track lets you load a different file into it - fresh from your device, or any track already sitting in your batch list - without starting over.
4. Match a Reference
Load a Track → Load a Reference → Compare (Graphs) → Auto-Conform → Fine-Tune & A/B → Render the Set → Download
The most guided route: drop in a reference track, let the spectrum and crest-factor graphs show you where you differ, click Auto-Conform to close most of the gap in one move, then fine-tune and A/B until it's right.
Each track shows its duration, loudness, peak, crest factor, and target gain - as it's analyzed.
Per-Track Trim
Six small dials next to each track's Master preview, once it's rendered - Low, Mid, High (green, gold, red) reshape tone; Volume (plain) is a broadband level nudge on top of that. Drag one up or down to nudge it by ear, up to ±6dB. Double-click to reset to 0.
Drag and a magnified dial blooms up from the knob - track name, the exact value, and a marked face with ticks for finer placement than the small dial alone allows. It only appears while you're actively dragging, lands on whichever side (above or below) has more room, and disappears the moment you let go.
Use it after Render, while previewing a track's mastered result: if one track in the set sits duller, boomier, or harsher than the rest, trim it into line without touching the shared chain everything else went through. Drag while that track is previewing to hear the change live.
Trim never rewrites the render itself, so it survives a re-render and there's no need to re-render just to pick it up - it's applied fresh the moment you hit Download. A safety ceiling keeps a heavily-trimmed track from clipping on export.
Fade In / Fade Out
Part of the same dial family as Trim and Volume, under a "Fade" header of its own - grouped with the other four dials but set apart by real, fixed space rather than color, since a fade isn't tone or level, it's a duration: 0 to 20 seconds. The dial itself stays neutral at rest (no color of its own, same full strength as Volume) and simply brightens to white while you touch or drag it, same idea as Volume. Fade In eases the track up from silence at the start; Fade Out eases it down to silence at the end. Some tracks need one, the other, both, or neither - a live set recording that starts or ends mid-air, an outro that currently just cuts off. Applied exactly where Trim and Master Volume are - fresh at Download - as the very last step, after everything else has set the track's level. Since a fade only ever holds a track's level steady or brings it down, never up, it never needs the safety ceiling on its own.
Master Volume
One dial, next to Clear All, that raises or lowers every track's final level by the same amount - not per-track like the six knobs above, the whole set at once. Same non-destructive treatment: it doesn't touch the render, applies live if you're previewing a track's mastered result, and bakes in only at Download. The same safety ceiling covers it too.
Load a single track into the Shaper section. It runs through these, in order:
Bypass any module on its own.
Each has 5-step undo/redo - ↺ / ↻ in that module's header, or Ctrl/Cmd+Z (follows whichever module you touched last).
Drop a reference track to compare against.
Levels are matched, so you're hearing tone and dynamics - not just volume.
The spectrum and crest-factor graphs show where your track sits next to it, band by band.
Auto-Conform to Reference
Nudges your EQ, compressor, and output level toward the reference in one click.
It's a starting point, not a final answer - each click closes only part of the gap, so you stay in control.
Don't like the result? ↺ next to the button undoes exactly that - all three modules, one click. ↻ redoes it.
Any other manual change afterward retires that undo - it can no longer tell your edit apart from the conform's.
A/B: Your Track
Switches playback between your track and the reference, at the same point in the timeline - so you can compare without losing your place.
All processing happens in your browser. Your audio is never uploaded anywhere.
Once loaded, it keeps working offline - and can be installed like an app, from your browser's "Add to Home Screen" / install option.
LUFS
Loudness Units relative to Full Scale. A way of measuring how loud a track sounds to a human ear - not just its peak, its overall loudness. More negative = quieter. Closer to 0 = louder. Streaming services usually target around -14.
EQ (Equalizer)
Turns specific parts of the sound up or down - bass, mids, treble. Same idea as a tone knob, just with much finer control.
Compressor
Automatically turns down the loud moments, so a track's volume stays even instead of swinging between quiet and loud.
Saturation
Adds harmonic distortion - the "warmth" or "grit" analog gear and tape add on their own. Drive sets how hard the shaping curve bites; Mix blends that in against your untouched signal, so 0% is silent and 100% is fully processed. Use sparingly: even a little is audible, and it stacks with the limiter squeezing right after it. Start with Mix low and raise it only until you can just tell it's there.
Limiter
A hard ceiling on volume. Stops anything from getting louder than the level you set, no matter what.
Threshold
The volume a compressor or limiter starts reacting at. Below it, nothing happens.
Ratio
How hard the compressor pushes back once volume crosses the threshold. A higher ratio pushes back harder.
Knee
How gradually a compressor eases into working, rather than switching on abruptly right at the threshold. A soft knee is gentler and less noticeable.
Attack / Release
How fast it reacts. Attack is how quickly it kicks in. Release is how quickly it lets go.
Makeup gain
Gain added back after compression, to make up for the compressor turning things down.
Ceiling
The loudest a limiter will ever let a peak get.
Crest factor
The gap between a track's loudest moment and its average loudness. A bigger gap means more punch and dynamics. A smaller gap means a more constant, "squashed" sound.