Online mastering. Made by musicians.
Mastering is the final stage before release. It shapes level, tonal balance, dynamics and stereo image so the finished track translates more consistently across different listening systems. Here is exactly how ReVibe handles yours.
The signal path
The delivery check
Every ReVibe Master has to pass the same delivery check: −14 LUFS integrated. If it misses that target, we do not deliver it. The render fails instead of shipping you something wrong.
We also use the same −14 LUFS reference when you compare your original with Balanced, Warm and Bright. Louder can sound better at first even when it isn't, so matching the loudness lets you make a fair comparison.
When you switch between versions, loudness stays matched. You are judging the differences in tone, dynamics and stereo character — not being influenced by volume.
Many streaming services use loudness normalisation during playback. A master that is simply made louder gets turned back down again, so the extra loudness buys nothing and the punch and dynamics you gave up to get it are gone.
Balanced · Warm · Bright
None of these is better than the others. They are three different approaches to your track, and the right one depends on the music and what sounds right to you. That is why you hear all three before you decide.
Clears the very bottom, takes a little weight out of the low mids where mixes can become cloudy, and adds a touch of air at the top. Gentle multiband compression evens out the dynamics without flattening them, with a very slight widening. It is the least opinionated of the three.
Adds weight low down around 120 Hz, clears the mud just above it, and softens the top end rather than lifting it. The compression is slower and gentler than Balanced, and the very highest frequencies are eased off. The result is smoother and slightly less forward.
Tightens the bottom and adds a stronger lift at the top. Faster compression on the high band keeps that brightness under control, and the stereo image is noticeably wider than the other two.
Low · High
Under the player there are two controls: Low and High. They only cut, never boost, and run from 0 to −6 dB.
Low reduces the bottom end around 150 Hz. High reduces the top end around 8 kHz.
They are there because a master can sound right on your speakers but behave differently in a car or another listening system. If there is too much bass or too much top, you can adjust it here, by ear, on the version you are actually considering.
Whatever you set is carried into the Master you buy. The file is re-normalised to −14 LUFS afterwards, so reducing the bass or top does not simply leave you with a quieter track.
The roll-off is a setting, not a separate product. Balanced with the bass rolled off is still Balanced.
There is also a bypass button. Use it to compare your adjustment with the flat version instantly.
Deliverables
Before you pay: sixty-second previews of your original and all three approaches, level-matched in the player.
After you buy: your chosen Master as a 24-bit WAV and a 320 kbps MP3, plus the ReVibe Report.
