VST3 · WINDOWS + MACOS

Your AI mixing engineer,
sitting on the master bus.

MixMind listens to your mix in real time and answers like a seasoned engineer — too much bass, vocal buried, master ready for Spotify? Ask in plain English, get spectral evidence back.
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LUFS
-14.0
PEAK
-1.0
CREST
18.6
CLIP
OK
STEREO
0.86
MixMind — master bus · LIVE
MIXMIND
● LIVE
L
R
⚙
LUFS
−22.4
Peak
−2.5
Crest
18.6
Clip
✓
Stereo ρ
0.86
Hi, I'm MixMind.
I'm listening on your master bus — ask me anything, or open ⚙ to upload a file for full-song analysis.
Try: "Is the bass too loud?" · "What's the Spotify mastering target?"
Is the bass too loud?
Spotify mastering target?
How to bring vocals forward?
Stereo width?
The lead vocal is buried in the chorus and the low mids feel cluttered
What I hear: 200–400 Hz is running +5.5 dB over the rest of the mix, and the vocal band at 2–4 kHz sits 4 dB below the guitars. Classic low-mid pile-up, not a vocal level problem.
1 — Clear the space first (guitar bus)
· FabFilter Pro-Q 3 → bell at 290 Hz, −3.5 dB, Q 1.2
· Same instance → dynamic bell at 3 kHz, −2.5 dB, sidechained to the vocal bus (ducks only when the vocal sings)
2 — Then push the vocal, don't just turn it up
· Waves CLA-76 → ratio 4:1, attack 3, release 4, ≈4 dB GR for a steady front edge
· Pro-Q 3 → high shelf 6 kHz, +2 dB, and a 90 Hz high-pass at 12 dB/oct
· Valhalla VintageVerb → plate, 1.4 s, pre-delay 40 ms, 12% wet, low cut 300 Hz so the tail stays out of the mud
3 — Re-balance the bottom
· Waves SSL G-Channel on the bass → LF shelf +1.5 dB at 80 Hz, LMF −2 dB at 250 Hz
· Kick and bass: sidechain the bass with Pro-C 2, 4:1, 20 ms release, 2 dB GR
Check: after these moves crest should stay above 12 dB and stereo ρ near 0.85. Play me the chorus again and I'll tell you if the 290 Hz cut went too far.
Ask something… e.g. vocal should come forward
➤
01 — LISTEN
Drop it on any channel or the master bus. It meters LUFS, true peak, crest factor, clipping and stereo width — live.
02 — ASK
"Is the bass too loud?" "What's this channel?" It answers with spectral evidence, not vibes — band by band, dB by dB.
03 — FIX
Concrete moves: EQ points, gain targets, mastering chains tuned for Spotify, Apple Music and club playback.

What it sees while you play

ANALYSIS ENGINE
Spectrogram · frequency over time
20 Hz — 20 kHz
20
100
500
2k
8k
20k
Every frame of the mix, banded and stacked over time. This is what it reads when it tells you 200–400 Hz is piling up.
Loudness target
−9 CLUB
−14 SPOTIFY
−16 APPLE
−23 EBU
Integrated LUFS against every platform target at once, so the master is judged where the track is actually going.
Stereo field
Correlation and width per band — it catches a mono-collapsing chorus before your mastering engineer does.

An engineer's ears, a chat away

WHAT IT DOES
Real-time master bus analysis
Continuous LUFS, true peak, crest factor, clip detection and stereo correlation — the numbers a mastering engineer watches, updated live while you work.
Ask in plain English
"Too much low end?" "How do I get the vocal to sit on top?" MixMind hears what you hear and answers about your actual audio — not generic mixing advice.
Spectral detective work
Point it at a mystery channel and it identifies the instrument from its spectrum — sub energy, transient shape, harmonic signature — and shows its reasoning.
Streaming-ready mastering targets
Tell it where the track is going — Spotify, Apple Music, YouTube, club — and it walks your master to the right loudness, dynamics and tonal balance.
PLUGIN INVENTORY

It mixes with the plugins you already own

MixMind scans the VST3 plugins installed on your machine and keeps that inventory next to the audio analysis. Every mixing and mastering move it suggests is routed through plugins you actually have — which plugin, which parameter, how much, and why.
Scans automatically. Standard VST3 directories, plus any custom plugin folder you point it at.
Names your gear, not a catalogue. Advice comes back as "your compressor, 3:1, 40 ms release" — never a plugin you'd have to buy.
Mix and master chains. It builds the channel chain and the master chain from the same inventory, in signal order.
SCANNED PLUGINS · 47 FOUND
VST3
Pro-Q 3
EQ
Pro-C 2
COMPRESSOR
Pro-L 2
LIMITER
Glue Compressor
BUS COMPRESSOR
Saturn 2
SATURATION
Valhalla VintageVerb
REVERB
ASK
"Master is at -9 LUFS and the low end is muddy. What do I do?"
FIX
1
Pro-Q 3 — low shelf, 180 Hz, −2.5 dB, Q 0.7
2
Glue Compressor — 2:1, 30 ms attack, auto release, 1.5 dB GR
3
Pro-L 2 — ceiling −1.0 dBTP, target −14 LUFS for Spotify
SIGNAL FLOW

Every answer comes back as a chain, in order

Not a list of tips. A signal path — which plugin sits where, what each one is doing, and why moving one changes the next.
MIX BUS
MASTER BUS
01 · EQ
SSL G-Equalizer
−1.5 dB @ 320 Hz
02 · GLUE
SSL EV2 Channel
2:1 · 1 dB GR
03 · BUSS COMP
SSL G-Master
30 ms · 1.5–2 dB GR
04 · LIMIT
L2 Ultramaximizer
−1.0 dBTP · −14 LUFS
MASTERING

And the same for the master chain

Upload the bounce and it walks the master to target — in signal order, through the plugins it found on your machine. Here it is working the Waves SSL bundle.
MixMind — mastering · full-song analysis
MIXMIND
FULL SONG · 3:42
L
R
⚙
LUFS
−16.2
Peak
−3.1
Crest
13.4
Clip
✓
Stereo ρ
0.97
Full-song analysis ready ✓ 47 plugins found — advice now uses YOUR inventory.
Master this for Spotify. I've got the Waves SSL bundle — use it.
Where you are: −16.2 LUFS integrated, true peak −3.1, crest 13.4. You need +2.2 dB of loudness for the −14 LUFS target and you can afford it — the dynamics are healthy. Stereo ρ 0.97 is narrow for a chorus, so I'll widen before I compress.
Chain, in signal order
· Waves SSL G-Equalizer — HPF 28 Hz · LF shelf +1 dB at 60 Hz · LMF −1.5 dB at 320 Hz, Q 1.4 · HF shelf +1.5 dB at 8 kHz. Small moves only; this is a mastering EQ pass, not a rescue.
· Waves SSL EV2 Channel — engage the compressor at 2:1, threshold for 1 dB GR, fast attack off. This is glue and colour, nothing more.
· Waves SSL G-Master Buss Compressor — ratio 2:1, attack 30 ms, release auto, threshold for 1.5–2 dB GR on chorus peaks. Mix knob at 70% keeps the transients you already have.
· Waves L2 Ultramaximizer — ceiling −1.0 dBTP, threshold for ≈2.5 dB of gain reduction. That lands you at −14.1 LUFS.
Order matters here
Put the G-Equalizer before the buss compressor — the 320 Hz cut changes what the compressor reacts to. If you flip them, the low mids drive the GR and the master gets duller as it gets louder.
Target check: −14.1 LUFS · −1.0 dBTP · crest 10.8 · no clipped samples. Safe for Spotify, Apple Music (−16 normalises down cleanly) and YouTube. Bounce it and re-upload — I'll verify against the numbers.
Ask something… e.g. is 2 dB of GR too much?
➤
RUNS IN EVERY MAJOR DAW
Ableton Live
Logic Pro
Pro Tools
Cubase
Studio One
VST3 plugin for Windows 10+ and macOS 11+ (Intel & Apple Silicon)

Pay for answers, not seats

Every plan starts with a 3-day free trial. Cancel anytime.
STARTER
$20
/ month
For finishing the occasional track.
15 AI requests per month
Unlimited live metering
All analysis features
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MOST POPULAR
PRODUCER
$40
/ month
For producers mixing every week.
40 AI requests per month
Unlimited live metering
All analysis features
Priority response speed
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STUDIO
$100
/ month
For studios and full-time engineers.
100 AI requests per month
Unlimited live metering
All analysis features
Priority response speed
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Hear the difference in your next session

Download the plugin, load a session, ask your first question. Free for 3 days.
Download for Windows · VST3 Download for macOS · VST3
v1.0 · 64-bit · [DOWNLOAD SIZE]