Mixing Desk
Mixing Desk
Import your stems and mix them on a desk that works the way a real one does. Free to mix, with one purchase to save the finished mix.
Coming to the App StoreTrim and polarity, a noise gate, a five-band parametric EQ, a de-esser, a compressor with adjustable knee, hold and external sidechain, stereo width, pan and a fader.
The stages run in the order they run on a desk, and the taps between them are the point: a pre-fader send and a PFL listen both come from before the fader.
Every channel's input stage runs before any channel's dynamics, so keying one strip off another gives the same answer regardless of channel order.
Groups carry their own EQ and compressor, so the compressor works on the sum — the thing a control group cannot do.
Fed from pre- or post-fader sends, each with a reverb and a delay, so several sources share one room.
Ride a set of faders at once without changing anyone's signal path, sends or post-fader taps.
Independent mixes of the subgroups and the direct path, each at its own level — ready to bounce as stems, alternate versions or a mix-minus.
The limiter detects on a 4× oversampled copy, because true peak is what survives an encode. Its gain is smoothed so transients don't splatter.
Mono sum, dim and monitor trim sit after the meters and can never reach your file. A mono button that changed the export would be useless.
LED-style level meters, gain-reduction traces, correlation metering measured before the monitor section, and a real-time spectrum analyser.
Arm a channel, choose your input, set the gain and monitor through headphones. The meter is live from the moment you arm, with or without monitoring.
A take is stamped to the moment you pressed record, with the recording round trip compensated, so it sits where you played it.
The file is written off the audio thread, so a slow write can never punch a hole in a take — and if the writer ever falls behind, the take says so.
Four per strip, in series, on channels, groups, effects returns and the master. Order is the feature, so the rack runs front to back.
Reverb, echo, ducker, multiband compressor, transient shaper, chorus, flanger, phaser, saturator, vocoder and more. They are Audio Units too, so other hosts on your device can use them.
Split, trim, fade and crossfade regions — including a whole run of seams in one step for comping. Ride the fader to write automation. Undo anything.
Export drives the same render path as playback, so the file is the mix. Optional loudness normalisation, genuinely measured in two passes. Mixing is free; Mix Down is unlocked by a single in-app purchase, with no subscription.
Every track is pulled from one playhead in a single pass, so tracks cannot drift apart — sync is structural rather than merely likely. Everything you import is transcoded once to 32-bit float at the project rate, so playback never decodes or resamples, and compressed files can't put your tracks tens of milliseconds out. Reaching for lookahead on one compressor doesn't slide that path late, because delay compensation runs every block.