Shape every track with EQ, compression, gate and effects, place it in the stereo field, bus tracks into groups, then finish the whole mix with loudness metering, a limiter and a one-click export to WAV, stems or a small compact file.
Record or import tracks in the recorder. Level, mute and solo live there; everything else is in the Mixer, one column per control and one row per track.
Use the three-band EQ, pan, compressor, gate, distortion and chorus. Add reverb and delay sends, and use the parametric EQ for finer work.
Group tracks onto buses A, B and C, set the master compressor and brickwall limiter, then check loudness in Post-Production.
Press EXPORT WAV for the finished mix, EXPORT STEMS for one file per track, or EXPORT COMPACT for a small file to text or upload.
Low, Mid and High at plus or minus 15 dB on every track, plus a five-band parametric EQ with a live frequency-response curve.
Compressor and noise gate from 0 to 100%. Sidechain a track off another, such as bass off kick, for the classic pumping effect.
Reverb and delay sends, distortion, chorus, whole-track pitch transpose of plus or minus 12 semitones, De-ess and Pitch Correct.
Tone presets for Tele Clean, Tele Twang, Tweed Crunch, Modern Bright, 12-String, Bass Round, Bass Punch, Acoustic Bright and Acoustic Warm.
Three shared buses with their own level, mute and solo, feeding a master compressor and brickwall limiter with peak and clip indicators.
Room, Plate and Hall are synthesized. Import IR loads a real recorded room, plate or spring for genuine convolution reverb.
Integrated and Momentary LUFS with export targets of Peak Only, Streaming -14 LUFS or CD-Loud -9 LUFS.
Spectrum view, tape-style saturation, stereo width, mains hum filter at 50 or 60 Hz, hiss reduction, and an A/B bypass to compare against the untouched mix.
Start with levels and pan before touching any effects; most mixes are made or broken there. Then cut mud with the Low or Mid EQ on crowded tracks, add compression to even out dynamics, and use a small amount of reverb to place instruments in the same room.
Any control at 0, centre or Off is a true bypass, so a track with everything at default sounds exactly like the raw recording. That makes it safe to experiment: you can always return to the original by setting a control back to its default.
The Post-Production tab shows Integrated and Momentary LUFS so you can see roughly how loud your mix will be on streaming or broadcast systems. It is a practical estimate rather than a certified broadcast meter, but it is accurate enough to get an export in the right range.
The Export Target menu tells EXPORT WAV to solve for a gain that hits that loudness, but it never pushes past the mixer's peak ceiling, so a mix that is already loud and limited may simply not reach a quieter target. EXPORT WAV is automatically normalized and limited toward -1 dB peak so it is ready to share.
EXPORT WAV bounces the whole mix through the entire chain, including Post-Production. EXPORT STEMS renders each track separately and zips them, useful for finishing in another program. EXPORT COMPACT hands the same mastered mix to your browser's own audio encoder, producing AAC in an .m4a file on Safari and Opus in a .webm file elsewhere. It is labelled honestly rather than called an MP3, since browsers do not include an MP3 encoder; run the WAV through any converter if you need a literal .mp3. Downloads work when Fretnook is open directly in your browser or installed as an app.
Fretnook is free and runs in your browser. Your microphone audio and recordings stay on your device.