Version 46
Line up to twelve tracks, record, trim and fade them, shape the sound with EQ, and export the mix.
Name your project and tap Save project, then Save. You get one .mixdown.zip file with everything: tracks, clips, edits, recordings, tones, EQs, effects, mastering settings, song details, cover art, and the audio itself. Open project brings it all back, on this device or another one. New project starts fresh.
Tap a track's waveform to make it the active track. In Select mode, drag across it to select a section. Then:
Split at playhead cuts the clip under the playhead into two clips. In Move mode, tap a clip to select it, then drag it sideways to move it. To put it on another track, pick the track in the selected clip's Track menu under the edit buttons, where you can also type its exact start time. Swipe on tracks (next to Loop) decides what touches on the tracks do: Edit (the default) makes selecting and moving reliable, including dragging a clip up or down onto another track; to scroll the page, swipe on the striped strip at the right edge of the tracks. Scroll lets up-and-down swipes anywhere over the tracks scroll the page. Tap a track's name under Tracks to open or close its settings, use Shown/Hidden to choose which tracks appear in the player (hidden tracks still play), and Undo/Redo name exactly what they change.
Clip fades and blends: select a clip in Move mode and set its Fade in and Fade out (seconds) under the edit buttons. To join it to the next clip on the same track, open Blend into next clip. Pick a style: Both blend (the ending fades out while the next part fades in), Fade out (the next part comes in at full), Fade in (the ending plays out at full), or Dip (fade out, a moment of silence, then fade in). Type the fade-out and fade-in lengths separately (0.03 or 30ms for a splice, a few seconds for a slow swell), and set the Curve from sharp to wave-like. The picture shows the two volume curves as you change them. Then tap Blend into next clip.
Tap the time in the player to type where the playhead should go. Type only the numbers: 31425 becomes 3:14.250. Tap Exact times next to Select and Move to type a selection's start and end the same way, or set either one from the playhead, then tap Select.
Undo steps back through your last 60 edits. Edits never change your original files.
Open Recording and tap Turn on microphone. Use wired headphones so the music doesn't leak into your take; Bluetooth adds delay. Tap the track to record onto, move the playhead to where you want to start, and press ● Record at the bottom right of the player. After the count-in, sing or play along; press ■ Stop (the same button) to finish. Each take becomes its own clip, so you can split, trim, move, and duplicate it.
To stop the microphone, tap Turn off microphone or the red Mic on button in the player bar. It also turns off by itself when you leave the app, unless you're recording. Run Measure latency once per phone or mic (speaker on, no headphones). It sets the Timing fix so takes line up with the music. If a take still sounds early or late, adjust the slider and record again.
Choose what to EQ in EQ for: the whole mix or any single track, each with its own 8 bands. The EQ is locked so scrolling can't bump it; tap Edit EQ to change it, and Done when finished. All bands that are on work together. Pick a band (1 to 8) to see or edit it, and set its type, frequency, gain, and width (Q). Reset band puts one band back to its starting setting. While editing, you can also drag a band's dot on the display. The amber line shows your EQ curve over the live spectrum while the mix plays. The buttons under the display choose which spectrums to show: the whole mix (shaded) and each track (a line in its color). Each project keeps its own EQ; a new project starts with every band off at a common starting point, with a note on what that band is usually used for.
Each track has an Effects section at the bottom of its card: Noise gate, Compressor, Saturation, Chorus / flanger, Phaser, Tremolo, Echo / delay (can sync to the tempo in Recording), and Reverb (room, hall, or plate). Check an effect to turn it on and show its controls. They run in that order, after the track's EQ. Changes apply when you let go of a slider. Reverb and echo tails are kept at the end of an export instead of being cut off.
Add tone track creates a generated tone you can layer under your music. Choose Binaural (a slightly different tone in each ear; needs stereo headphones), Monaural (both tones mixed, works on speakers), or Isochronic (one tone pulsing on and off; adjust how soft the pulse edges are). Set the Carrier (the tone you hear) and the Beat (how fast it pulses), or tap a band button. Glide the beat moves smoothly from one beat rate to another over the track. Add a Noise bed (white, pink, or brown) under the tone and set its level, or choose Noise only for a track of just noise. Press Update tone after changes. Tone tracks work like any other track: volume, fades, EQ, split, and trim. Pan is off for binaural so each ear keeps its own tone.
Binaural beats only work in stereo. If a phone speaker or app plays your song in mono, they disappear; monaural and isochronic tones survive.
In Mastering, type your Target loudness (0 to -20 LUFS) and Ceiling, choose a Hard (brickwall) or Soft (rounded) limiter, and set the Look-ahead and Release. Press Master now: the app measures your mix, raises or lowers it to the target, limits the peaks, and checks again until it lands on the number. You'll see the final loudness, peak, gain added, and how much limiting it took. Turn on Listen to the master and press Play to hear it. If you change anything in the mix afterward, Listen to the master turns itself off so Play always matches what you see; master again to hear the new version. If a song can't reach the target without piling on limiting, mastering stops where more gain would only squash it and tells you where it stopped. Tap Save as my defaults to keep your usual settings; every new project starts with them, and Use my defaults puts them back on any song (for example, a project whose look-ahead got bumped).
Under Export, pick a Format: WAV (lossless), M4A (smaller, 256 kbps AAC), or MP4 cover art video (your cover art, or black, with the song, square, 9:16, or 16:9, ready to post, with optional visual rows in your color: a live waveform, a slow waveform that shows beats and pulses, spectrum bars (plain, mirrored, stacked in track colors, or EQ screen: the whole mix shaded with a glowing line for each track, like the live EQ display), and a whole-song waveform with a progress marker; check any combination). Fill in Song details to save the title, artist, album, lyrics, and cover art inside the file.
In Export, Repeat plays the song 2, 3, or 5 times in one file, or fills 3 to 30 minutes, ending with a gentle fade. Turn on Blend the joins to choose how each repeat flows into the next, with the same styles as clip blends. The first play always starts clean and the last one ends naturally. Dip fades the ending out and the beginning back in, so a repeat sounds like a quiet moment in the song. With Repeat off, Blend the joins makes a single file that loops smoothly when a player repeats it; Dip keeps its very start clean. Long files are large, so M4A is a good choice for them.
Fill in Song details (title, artist, lyrics, and cover art), then tap Send to Lyric Scroll under Export. Mixdown hands over the finished song (mastered when Master when exporting is on) through your phone's own storage, then shows Open Lyric Scroll. Lyric Scroll offers to load everything; then you time the lyrics yourself as usual. Nothing is uploaded anywhere.
In Export, check Only edit the tags of a song I already have, then Open a song (WAV, MP3, M4A, or MP4). Its details and cover art fill in under Song details. Change them and tap Save tagged copy; it makes a new file with "-tagged" added to the name, without re-encoding the audio. Uncheck the box to go back to exporting your mix.
Music players show cover art in their own frame, usually a square, whatever shape the picture is. For a full-screen look, use the MP4 video export in the shape you want.
The Size buttons (100%, 85%, 70%) shrink the whole page on a phone so more fits on screen; you can still pinch to zoom in. The Layout buttons under the title switch between Auto (side by side on wide screens), 1 column, and 2 columns, whatever your screen size. Your choice is remembered.
Suno and other AI music often has harsh S sounds, hiss, a swirly metallic shimmer, piercing upper mids, or boomy low mids, and close, quiet vocals can have mouth clicks and P or B pops. Cleanup quiets each one only at the moments it happens, so the rest of the song stays as it was. Use the Mouth-click remover and Pop softener on a vocal track, not the whole mix. Remove end glitches (on by default) trims the split-second click or swipe that Suno stems and some other files have at the very end, after the song has faded out. Tracks that had one show a note with Put it back. Choose Clean up: the whole mix or one track (a vocal stem is the best place for the de-esser). Turn on what you hear and pick Gentle, Medium, or Strong. Cleanup works on the finished sound, so tap Hear cleanup: it renders the master, then press Play. Uncheck Listen to the master under Mastering to hear the original again.
Section fix turns the volume or treble up or down in one stretch of the song, with smooth half-second ramps in and out, for example a chorus that's too loud or an ending that gets too bright. Select the part on the timeline and tap Add section, or type the start and end.
Tap ? What do you hear? in EQ or Cleanup. Choose where to fix it in Fix it on (the whole mix or one track), then tap what you hear: harsh, muddy, boomy, hissy, sharp “s” sounds, one note that stings, vocals buried or too loud, crushed, thin, or a swipe at the end. Each problem shows two or three fixes, each a real setting with one line on what it does. Turn them on and off in any combination; turning one off puts back exactly what was there. Try the Ring tamer first: it's a Cleanup tool that dips a ringing note only at the moments it sticks out, so the note is left alone the rest of the time (good for melody notes that only sting sometimes). If a note stings every time it plays, use Find it for me, which listens for up to three notes that ring out, worst first, and cuts each one on its own EQ band, with its own switch. Numbered pins on the timeline show where each note rings hardest, and the track it was found on is shaded over each stretch where it rings: red while it's not fixed, green once its cut is on. Show pins and Show on the track switch them on and off for each search, and Hide all marks by the timeline buttons clears them all, so your waveforms look clean when you're done (the fixes stay on). Listen at buttons and Listen at buttons play from just before each spot, so you don't have to hunt through the whole song. Switch a note off and on while it plays to hear the difference, and keep only the cuts that clearly help. On a single track it listens to that track's own audio; on Whole mix it listens to everything together, as you hear it. EQ and volume fixes change the sound right away; Cleanup and mastering fixes are heard after Master now.
Made by MLSS · built with Claude by Anthropic. MP4 and M4A export use mp4-muxer by Vanilagy (MIT License), and project and stem zips use JSZip (MIT License).
Type it once here. It names the project, fills in the Title in Song details, and names your exported file.
A project file keeps everything in one place: every track, clip, edit, recording, tone, EQ, effect, mastering setting, and song detail, plus the audio itself. Open it later on any device to pick up where you left off.
Everything changed from the defaults, track by track. Use it as a recipe for another song.
Tap a track's name to open or close its settings. Closed tracks can't be bumped by accident. Amber underlined numbers were changed from their defaults. Tap any number to type an exact value or reset it. Volume and pan click into place at 0 and Center.
Recording needs your microphone. Use wired headphones so the music doesn't leak into the mic.
Sing or play at your loudest part. Aim to peak around -6 dB.
Phones record a little late. This shifts every take earlier so it lines up with the music.
Unplug headphones and turn the volume up for this test. The app plays a few clicks through the speaker, listens with the mic, and sets the timing fix for you. Do it once per phone or mic.
The microphone also turns off by itself when you leave the app or switch to another app, unless you're recording.
EQ is locked so scrolling can't change it. Tap Edit EQ to change bands, types, frequencies, and gains.
All bands that are on work together. The numbers just choose which band you're looking at or editing. Bypass turns this whole EQ off so you can hear the difference. Gain doesn't apply to high-pass, low-pass, or notch bands.
Quiets harsh S sounds, hiss, metallic shimmer, piercing upper mids, and boomy low mids, only at the moments they flare up. It's applied when you master or export.
Some files, like Suno stems, fade to silence and then end with a split-second burst that sounds like a click or swipe. Mixdown trims just that burst. Each track that had one shows a note with Put it back, and your file itself is never changed.
Renders the master with cleanup, then press Play. Uncheck Listen to the master under Mastering to compare with the original.
Turn the volume or treble up or down in one part of the song, with smooth ramps in and out. Select the part on the timeline first, or type the times. This changes the whole mix; −60 dB mutes it. To silence just one track, select that part on its lane and tap Silence.
Shows how loud the mix is right now (LUFS and true peak) without changing anything. Handy for checking a professional song: add it as a track and measure.
Target loudness is the overall level streaming apps measure; most use about -14 LUFS. The ceiling is the highest any peak can reach. True peak also catches peaks that form between samples when the file is converted for streaming.
"Stacked in track colors" shows how much each track adds to every part of the spectrum, in that track's color, building up to the full mix. "EQ screen" looks like the live EQ display: the whole mix as a shaded area, with a glowing line for each track in its color.
With Master when exporting on, the file uses your mastering settings. If you already pressed Master now and haven't changed anything since, it reuses that master.
Sends the finished song (mastered when Master when exporting is on) with the title, artist, cover art, and lyrics from Song details. Lyric Scroll opens with them loaded, ready for you to time. Nothing leaves your phone.
Open a WAV, MP3, M4A, or MP4. Its details and cover art fill in under Song details; change them and tap Save tagged copy. The audio isn't touched.