For audio engineers
An analysis pass that hands you its working
Euphona assists and does not arbitrate. Every measurement it made and every move it derived is in the report, and none of it is binding.
What actually gets in the way
Automatic mastering is sold as a replacement for you
It isn't one, and the marketing that says otherwise is why the category gets treated with suspicion. The useful framing is narrower and more defensible: a fast, consistent diagnostic and correction pass that a person supervises.
Nobody publishes their metering
Loudness figures quoted with no statement of standard, gating or measurement window are decoration. When two tools disagree about a track's LUFS, one of them is measuring something else and neither will tell you which.
Corrections arrive without provenance
A 2 dB cut at 320 Hz is a setting. A 2 dB cut at 320 Hz because that band was masking the vocal through 60% of the chorus is a claim you can check, argue with, and learn from.
The workflow
How it goes
- 01
Measurement you can reproduce
Integrated loudness to ITU-R BS.1770-5 with the standard's gating, loudness range per EBU Tech 3342, true peak at 4× oversampling. Stated on every result, so a disagreement with your own meter is a question with an answer rather than a shrug.
- 02
Derivation you can follow
Parameters come from the measured analysis by a stated rule — target curves from a genre embedding, dynamics from measured crest factor and its distribution over time, limiter ceiling from the destination's published normalisation target. The rule is in the report next to the value.
- 03
Overrides that stick
Change a target, supply a reference, disable a stage, or take the analysis and do the rest yourself. Nothing recomputes your override on the next run, and nothing quietly re-adds a stage you removed.
- 04
Failure that is stated
Jobs that fail for our reasons aren't metered, identical re-runs resolve to the prior result rather than being charged twice, and the fault taxonomy is part of the published API contract, not a support-ticket outcome.
The suite
The parts you would use
AI Mastering
Streaming-ready loudness and tone, with every move explained.
Audio Restoration
Remove noise, clicks, clipping and room without hollowing out the take.
AI Mixing
A rough mix with every move explained, from your own stems.
Spatial Audio
Binaural mixes that hold up on headphones, built from your stems.
Questions
What people ask before starting
- What standard is the loudness measurement?
- ITU-R BS.1770 for integrated loudness, EBU Tech 3342 for loudness range, true peak with 4× oversampling. The EBU Tech 3341 compliance vectors run in CI against the meter, so the claim is a test result rather than a sentence.
- What does this do that a chain of plugins does not?
- It derives the settings from a measurement of your material rather than applying settings tuned on someone else's. The audible difference is mostly in what it does not do — it will not compress a track that already has the dynamics its genre expects, because it measured that it does.
- Can I get the analysis without the processing?
- Yes. Every job returns the analysis it started from, and the analysis pass is never metered. If all you want is the measured picture of a track, that is a legitimate use of it.
- Can I override what it chose?
- Every stage. The report lists each parameter with the measurement behind it, which is there precisely so you can disagree with one. Correction strength is bounded where the resynthesis stops holding up — that bound is deliberate, and it is the one thing you cannot turn past.
- Where does my audio go, and who can hear it?
- To our own servers, not to a third party's. Staff cannot listen to it by default, every internal read is recorded, and audio moves only through signed URLs. It is never used to train anything without a separate, explicit decision by you.
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