Osmix mastering
Drop the bounce you were about to submit. The engine measures it, decides what it needs, and tells you what it deliberately left alone. No separation, no queue behind somebody else’s stem split — this path is CPU-only and built to be quick.
No colour. The engine decides everything, you decide nothing.
Drop the stereo bounce you would attach to a submission form. We never separate it, never re-encode the source, and hand back a file you can upload as-is.
Drop a track, or click to browse
WAV, MP3, FLAC, AAC, OGG or M4A — up to 200.0 MB. Nothing is uploaded until you press Master.
Three biases on the decision engine — not faders. Every guardrail still applies underneath, so a record that cannot take a setting will refuse it, and the receipt will tell you it did.
−1.0 dBTP is the default and what most distributors expect. Lower it if a platform you are submitting to asks for more headroom before its own lossy encode.
Mastering names no loudness target. “Natural” is this record’s own measured loudness, not a platform’s number — every streaming service normalises on playback anyway, so delivering a file pre-crushed to hit one of their figures throws away headroom for nothing. The receipt shows you the loudness search it ran and the point it chose.