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Upload a finished mix and minutes later you get back a louder, brighter master that is ready to release, free and unlimited in at least one case. What it will not do is fix the mix. It works on the finished stereo file, so a kick and a bass that fight in the mix come back louder and shinier, still fighting.
checked 2026-10-13 · by dan scutaru
the tools that earn the verdict — no pay-to-win
Automatic mastering listens to the whole song, compares it with what it learned from thousands of released masters and builds a chain for it: EQ for tone, compression to hold it together, some stereo widening and a limiter that sets the loudness. You steer it with a genre, a style preset, an intensity, a loudness target or a reference song you want it to resemble.
Where it stops is the stereo file. It hears one finished waveform, not the vocal, the kick and the bass, so it can brighten the song but not the vocal alone, and a clipped mix stays clipped. A few plugins can now split a bounced mix and nudge the vocals, bass or drums inside it, which rescues a vocal that sits a little low and does not replace a remix.
Free mastering you can release does exist. The first pick above masters as many songs as you like and lets you download WAV or MP3 at no cost, with four presets on the free tier; its paid membership adds four more and an intensity control. It is the only pick here that stays free after the first download.
Everywhere else, free means free previews: you upload, try styles and listen as often as you want, then pay to download, $10 a track at one service and $7.99 at another, or a monthly plan. Use the previews anyway. Run one mix through two or three of them, compare the results at the same volume and pay for the one that still sounds like your song.
Mixing is where separate tracks become one song: you set each instrument's level, EQ, panning, compression and effects. Mastering comes after, on the single stereo file the mix produces, and adjusts all of it at once for tone, loudness and how it holds up on different speakers. It cannot reach inside that file, so cutting low end to tame a boomy bass thins the kick too.
One free service's own guide says it plainly: mastering can make a good mix great, but it cannot fix a problem mix. Before you master, play the mix on earbuds and in a car, or run it through a free mix analyzer that reports tonal balance, dynamics and loudness. A buried vocal is cheaper to fix in the mix than in three rounds of mastering.
AI mixing exists, but it needs your stems, the separate tracks exported from your recording software, not the finished song. You upload up to 16 tracks free or 32 on a paid plan, and the service sets the gain, panning, EQ, compression and reverb of each, then masters the result. The last pick above works this way, and its paid plan exports the session to your software with every setting editable. Only have the finished file? Split it into stems first.
If you mix yourself, the AI lives in your mixing plugins: an assistant that builds a starting chain for each track, and a module that finds two tracks masking each other, typically the kick and the bass, and carves space between them. That is the real fix for the catch, because it happens before the tracks become one file.
Export the final mix as a lossless WAV with no limiter or heavy effects on the master bus, and leave headroom: one service asks for a mix that sits between -8 dB and -4 dB. Clipping and hiss go in with the file and do not come out, so clean up the recording first. Then pick a reference, a released song in your genre whose sound you like.
Judge the result at matched volume, because louder always sounds better at first: use the volume-match button if there is one, or turn the master down to the level of the mix. Listen on earbuds and in a car before you release. Master an EP in one batch so the songs land at the same level, and keep the unmastered mix for the next attempt.
Mastering is the last step before release. It takes the finished stereo mix and adjusts its tone, dynamics, stereo width and loudness so it translates to every speaker; on an album it also sets the track order and evens out the levels between songs. AI mastering automates that chain without reopening the mix.
Mastering, yes: the first pick above is free and unlimited. Mixing is harder to get for free. The stem-mixing service in the list lets you preview as many mixes as you like and download the first one free, then charges $7.99 a download or a monthly fee.
About -14 LUFS integrated, with true peaks below -1 dB, by Spotify's own guidance. Its apps normalize playback to that level: louder masters are turned down, and quieter ones are lifted only as far as their peaks allow. If your master is louder than -14 LUFS, keep true peaks below -2 dB to avoid extra distortion when it is encoded.
Start with the free pick at the top of the list: it costs nothing, so it sets the bar. If that is not enough, the next two are paid web services with reference matching and free previews. If you mix in your own software, check for a built-in mastering assistant before you buy the plugin, and if the problem is the mix, only the last pick mixes from stems.
With AI, from nothing to about $10 a song, or $13 to $39 a month on the subscriptions above. A human engineer charges per song, $70 to $300 a track on the independent rate cards we checked, and a famous London studio's online service starts at 120 euros. Part of what you pay a person for is hearing that the mix needs work first.