Drop in a working mix and get practical feedback on clipping, low headroom, weak dynamics, mono loss, phasey width, muddy low mids, missing bass, and dull top end before you go back to your DAW.
Use the numbers as clues. The goal is not to chase perfect meters; it is to find the mix decisions that need attention.
This is a weighted 0-100 score from the analyzer. It combines loudness, peaks, clipping, dynamics, mono safety, width, and tone clues so you can quickly decide whether the track needs a small touch-up or a deeper DAW pass.
Integrated LUFS estimates the average loudness across the whole file. It tells you whether the mix has been pushed too hard or still has headroom. If it is extreme, fix balance, compression, and limiting before assuming louder is better.
Momentary loudness follows the current section of the song. It helps you compare verse, hook, drop, bridge, and outro energy. Big jumps can point to automation problems; flat readings can mean the mix has lost movement.
True peak estimates peaks that can appear between digital samples during playback or file conversion. If this is too high, lower the mix bus, reduce clipping, or use a cleaner limiter ceiling so the song does not distort after export.
Sample peak shows the highest digital sample level in the current window. It tells you whether the actual file is hitting the top of the meter. If it is too close to 0 dBFS, turn down loud tracks or bus processing before bouncing again.
Clipping hits count samples that are pinned near the ceiling. This matters because clipping can make drums crackle, vocals spit, and masters feel smaller. Fix it at the source with gain staging, less saturation, or gentler bus limiting.
RMS is a windowed average of the mix's electrical energy. It tells you how dense the section feels compared with its peaks. Very low RMS can feel weak; very high RMS can mean the mix is crowded or over-compressed.
Crest factor is the gap between peaks and average level. It tells you whether transients still have punch. Low crest factor often means the mix is squashed; very high crest factor can mean peaks are jumping out while the body feels quiet.
Mono loss estimates how much energy disappears when the mix collapses to mono. If it is high, important parts may vanish on phones, clubs, smart speakers, or social apps. Narrow phasey effects and keep core elements centered.
Stereo correlation describes how similar or phase-opposed the left and right channels are. Positive values are safer. Low or negative readings suggest polarity, widening, chorus, reverb, or doubled parts may be causing cancellation.
Stereo width compares side energy to center energy. It tells you whether the mix is too narrow, too wide, or unstable. Width is useful, but too much side energy can make vocals, bass, kick, and snare feel less solid.
Warmth tracks energy around 150-450 Hz, the same area where body can turn into mud. If this reading is high and the mix feels cloudy, target the mud zone with EQ on overlapping instruments, reverbs, or vocals instead of brightening everything.
Air tracks upper-frequency energy around 6-16 kHz. It tells you whether the mix may be dull, overly hissy, or brittle. If the top feels sharp, try de-essing, dynamic EQ, or smaller boosts before adding more brightness.
Sub/Bass tracks low-frequency energy from 20-120 Hz. It tells you whether the kick and bass foundation is weak, boomy, or swallowing headroom. Use high-pass filtering, kick/bass EQ, sidechain compression, or arrangement fixes in your DAW.
Loudness readings use an ITU-style loudness approach, while tone readings are broad mix feedback proxies. Treat them as diagnostic signs that point you back to specific DAW decisions.
Mix Feedback is a free Moozix analyzer for a track you are actively mixing. It checks loudness, peaks, clipping, dynamics, mono compatibility, stereo width, low-mid mud, bass, and air so you can decide what to fix in your DAW.
Start with level and masking. Automate the vocal, reduce competing low-mid energy in guitars, keys, and reverbs, add presence carefully, control peaks with compression, and use an adaptive limiter or peak limiter so the vocal stays forward without random words jumping out.
Use the Warmth reading as a clue, then target the mud zone around 150-450 Hz in your DAW. Cut buildup on the tracks causing it, often vocals, guitars, keys, room mics, reverbs, or bass harmonics, instead of putting one giant EQ cut across the whole mix.
If Sub/Bass is high and the mix loses headroom quickly, the kick, bass, 808, or low synth may be taking too much space. High-pass non-bass tracks, separate kick and bass with EQ, use sidechain compression when needed, and check the low end quietly as well as loud.
A thin mix can mean weak low mids, weak bass, too much high-pass filtering, or phase cancellation. Check Warmth, Sub/Bass, Mono Loss, and Stereo Correlation, then restore body where it belongs instead of making every track louder.
If the vocal feels sharp, look beyond volume. Try de-essing, dynamic EQ around sibilance and upper-mid bite, smoother saturation, and less aggressive presence boosting. If the Air reading is high, the whole mix may be carrying too much bright energy.
Weak drums often show up as low impact, poor crest factor, or low-end masking. Check whether the kick is fighting the bass, whether transients are being crushed by a limiter, and whether parallel compression, transient shaping, or drum bus saturation would add punch.
Clipping hits and hot sample peaks mean the bounce is running out of headroom. Lower clip gain, turn down loud stems, reduce aggressive bus processing, and leave space before final limiting. Clipping should be a choice, not an accident.
High Mono Loss or low Stereo Correlation means parts of the mix may cancel when summed to mono. Narrow chorus and widening effects, check polarity on doubled parts, and keep vocal, kick, bass, and snare centered enough to survive small speakers.
Width should support the song, not weaken the center. If Stereo Width is very high and Mono Loss is also high, pull back wideners, stereo reverbs, or hard-panned layers. If it is very low, add contrast with panning, short delays, room, or doubled parts.
Compare Momentary Loudness, RMS, width, and bass movement between sections. A chorus can feel bigger through arrangement, automation, low-end support, and wider backing elements, not just by turning the entire chorus up.
Integrated loudness and RMS can show whether the track is genuinely quieter, but do not solve it with a limiter first. Fix balance, low-end buildup, harsh peaks, and dynamics so the mix can get louder naturally without falling apart.
Fix obvious clipping, bad edits, missing files, extreme noise, and arrangement issues first. Moozix can help move the mix toward a finished sound, but clean stems or a clean stereo bounce give the system better material to work with.
Upload stems when vocals, drums, bass, and instruments still need balance. Upload a full stereo mix when the internal balance is already close and you mainly want a finished direction. If you only have one song file, Moozix can also help from that starting point.
No analyzer can know the whole creative context. Mix Feedback points to likely problem areas. Use it to decide whether the next move is EQ, compression, automation, saturation, limiting, panning, arrangement cleanup, or uploading to Moozix for a fast preview.
Trust the song. Good numbers can still hide a buried hook, boring arrangement, harsh vocal, weak groove, or emotional mismatch. Use the analyzer to catch technical problems, then compare against a reference track and make musical decisions.
No. This free analyzer runs in your browser, so your audio is not uploaded for Mix Feedback. If you choose to hear a Moozix mix preview, that upload happens separately when you start the Moozix workflow.
If the feedback shows problems you do not want to chase manually, upload your track or stems to Moozix and hear the mix you are trying to get. Moozix can create a private reference-style preview, then unlock final exports and processed stems when the result works.
Use Mix Feedback to spot what needs attention, then upload your track or stems to Moozix when you want to hear a private reference-style mix preview instead of chasing every fix by hand.
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