What does the Finish view measure?

Integrated loudness (LUFS), short-term and momentary maximums, loudness range, true peak, the balance across octaves, stereo width and low-end correlation, each track's share of the mix, which tracks mask each other (in which octave and which bars), and the arrangement's sections.

Which loudness targets does it use?

Streaming is −14 LUFS with a −1 dBTP ceiling, Apple Music is −16 LUFS and −1 dBTP, and Club is −9 LUFS and −0.5 dBTP. You can also set your own.

Does Master to target master the track?

No. It controls loudness and peaks. It puts a true-peak limiter (and a trim, if the song has to come down) on the master bus, solves the settings on a render so the song lands on the target, checks the result on a full render, and applies it as one undoable step. It doesn't change the tone of your mix.

Does it tell me which tracks clash?

Yes. When two tracks both carry a large part of the same octave at the same time, the Finish view names both tracks, the octave and the bars, and suggests which one should give way.

Can it tell if my track is just one long loop?

It maps the song's energy and the number of active tracks bar by bar and labels the sections (intro, build, peak, break, outro). When the level barely moves and the same parts play throughout, it says the song plays like one loop.

Are the tonal findings reliable?

They are labelled as heuristics. Loudness and true peak follow the ITU-R BS.1770 measurement; notes like "dull top end" compare your spectrum to a common reference slope, so treat them as a prompt to listen, not a verdict.

Finish

Finish your track. Loudness, true peak and masking, measured.

monody renders your song and measures it against a release target: loudness, true peak, balance, stereo, which tracks mask each other and where, and whether it plays like one loop. Every finding comes with a next step.

Get early access The details

Finish

Finish the track you started.

Loops are easy; finished tracks are rare. The Finish view renders your song, measures it against where it’s going (streaming, Apple Music or a club) and points at what’s holding it back, with a next step for each problem. You choose which ones to take.

demo · 8 bars · 124 BPMTarget: Streaming

Fix
Too quiet for Streaming (Spotify, YouTube, Tidal)
Integrated loudness is −26.3 LUFS; the target is −14.0 LUFS (12.3 LU short). Master to target adds a limiter and sets the gain.
Master to −14.0 LUFS
Check
Dull top end
The spectrum falls 7.6 dB/octave; balanced mixes sit near 4.5 (heuristic).
Brighten the mix
Check
Build-up in the bass
80–160 Hz stands 4.9 dB above its neighbours. Loudest there: Kick.
Clean up 80–160 Hz
Check
It plays like one loop
The level varies by only 0.8 dB and the same parts play for all 8 bars — no intro, build, drop or break.
Arrange it
Note
Thin upper mids
1.25k–2.5k Hz sits 9.4 dB under its neighbours.
Note
Kick dominates
Kick carries 93% of the mix's loudness.
Note
Short — still a sketch
It's 0:16 long.
Good
Peaks under the ceiling
True peak −11.4 dBTP (ceiling −1.0).

Real output: monody’s demo project against the Streaming target. Tonal notes are labelled heuristics.

After Master to target

Loudness: −26.3−14.0LUFS
True peak: −11.4−1.1dBTP
Release readiness: 5676of 100

Master to target puts a true-peak limiter on the master bus, set so the song lands on the target, as one undoable step. The other findings go to the assistant: it makes the edit, then measures again.

Streaming−14 LUFS · −1 dBTP
Apple Music−16 LUFS · −1 dBTP
Club−9 LUFS · −0.5 dBTP

It measures loudness, loudness range, true peak, octave balance, stereo and low-end correlation, each track’s share of the mix, masking between tracks, and the arrangement’s sections. Mastering here means loudness and peak control, not a tonal master.

What it measures

The Finish view renders the whole song once and measures the render. For each track and for the mix, you get:

Loudness: integrated LUFS, short-term and momentary maximums, and loudness range.
True peak: the inter-sample peak, measured with 4x oversampling, against the target's ceiling.
Balance: level per octave and the overall slope, with bumps and dips called out.
Stereo: width, and how well the low end holds up in mono.
The mix: each track's loudness, its share of the mix and the band it mostly lives in.
Masking: two tracks that both carry a big part of the same octave at the same time, for a good part of the song, named with the bars where it happens.
Arrangement: energy and active tracks bar by bar, the sections that come out of it, and parts that repeat exactly.

Targets

Target	Loudness	True peak ceiling
Streaming (Spotify, YouTube, Tidal)	−14 LUFS	−1 dBTP
Apple Music	−16 LUFS	−1 dBTP
Club	−9 LUFS	−0.5 dBTP
Custom	yours	yours

Where these numbers come from, and what each platform actually says about them, is in How loud should your master be?.

A next step for every finding

Findings are sorted into Fix, Check, Note and Good. Each one that needs work carries a next step:

Master to target handles loudness. It adds a true-peak limiter on the master bus (and a trim if the song is too loud), solves the settings on a render, checks them on a full render, and applies the result as one undoable step. Run it again later and it replaces only the devices it added.
Fix with monody hands the finding to the assistant. A masking finding, say, becomes an edit to the two tracks it names, in your session, where you can see it, flip it with Before/After, and keep or undo it. Then the Finish view measures again, so you hear and see whether it helped.
Or ignore it. It's your track.

What it isn't

Not a tonal master. "Mastering" here means loudness and peak control.
No reference-track matching yet.
Tonal notes are heuristics, labelled as such.

Questions

What does the Finish view measure?: Integrated loudness (LUFS), short-term and momentary maximums, loudness range, true peak, the balance across octaves, stereo width and low-end correlation, each track's share of the mix, which tracks mask each other (in which octave and which bars), and the arrangement's sections.
Which loudness targets does it use?: Streaming is −14 LUFS with a −1 dBTP ceiling, Apple Music is −16 LUFS and −1 dBTP, and Club is −9 LUFS and −0.5 dBTP. You can also set your own.
Does Master to target master the track?: No. It controls loudness and peaks. It puts a true-peak limiter (and a trim, if the song has to come down) on the master bus, solves the settings on a render so the song lands on the target, checks the result on a full render, and applies it as one undoable step. It doesn't change the tone of your mix.
Does it tell me which tracks clash?: Yes. When two tracks both carry a large part of the same octave at the same time, the Finish view names both tracks, the octave and the bars, and suggests which one should give way.
Can it tell if my track is just one long loop?: It maps the song's energy and the number of active tracks bar by bar and labels the sections (intro, build, peak, break, outro). When the level barely moves and the same parts play throughout, it says the song plays like one loop.
Are the tonal findings reliable?: They are labelled as heuristics. Loudness and true peak follow the ITU-R BS.1770 measurement; notes like "dull top end" compare your spectrum to a common reference slope, so treat them as a prompt to listen, not a verdict.