Is the mix too quiet?
Review loudness signals before the release leaves your hands.
Know before the world hears it.
Finality helps independent musicians, podcasters, and creators review loudness, clarity, clipping risk, noise, tonal balance, dynamics, and release-readiness before they publish.
A trusted final listen before release, with you in control of every creative decision.
Before Release
The final listen is where doubt gets loud.
Before a release goes public, creators are often left guessing whether the audio is truly ready. Finality gives that moment structure, clarity, and a second set of ears.
A trusted second set of ears before release.
Will this clip after upload?
Spot clipping and distortion risk while there is still time to listen again.
Does the vocal or podcast sound clear enough?
Check whether clarity issues might distract from the performance, story, or message.
Is there noise I stopped noticing?
Surface background issues that can fade from your own attention after repeated listens.
Am I about to publish something that needed one more pass?
Turn the last moment of uncertainty into a clearer decision before you publish.
How Finality Works
A clearer final listen in three steps.
Finality is built for the moment when a release sounds close, but the final call still feels uncertain.
01
Upload your audio
Bring a song, mix, master, or podcast episode. Nothing is published, and nothing is changed unless you ask for it.
02
Analyze readiness signals
Finality reviews loudness, clipping risk, clarity, tonal balance, noise, dynamics, and delivery-readiness cues.
03
Review guidance and decide
Use clear notes to decide what to fix, what to leave alone, and when the release is ready for your standards.
What Finality Checks
Release-readiness signals creators can act on.
Finality focuses on practical listening questions instead of vague scores or automatic promises.
Loudness and delivery readiness
Understand whether the audio is likely to translate cleanly across common listening and publishing contexts.
Clipping and distortion risk
Spot places where a release may feel harsh, overloaded, or technically risky before it goes live.
Noise and clarity
Surface background issues, masking, and clarity concerns that can distract from the performance or message.
Dynamics and punch
Review whether the track or episode still has movement, impact, and natural energy.
Tonal balance
Check whether lows, mids, and highs feel balanced enough for confident release decisions.
Mix and master readiness signals
Compare the overall picture and decide whether the next step is a small revision, deeper review, or release.
Submission specs
Some releases are not a judgment call. They are a spec.
Music and podcast review gives you signals to weigh. An audiobook chapter is different: ACX publishes numeric submission requirements, and a file outside them is returned. Finality reads a chapter against every one of those requirements and tells you which it could not measure.
Three answers, not two
Met
Measured, and inside the published requirement.
Not met
Measured, and outside it. The shortfall is named in the units the requirement uses.
Not measured
The value could not be read on this file. It is never reported as met, because an unproven requirement is not a passed one.
Finality measures against ACX's published requirements. ACX decides what it accepts.
The ACX submission requirements Finality measures
Programme RMS
Between −23 dBFS and −18 dBFS
Peak level
No higher than −3 dBFS
Noise floor
No higher than −60 dBFS RMS in the quietest 0.4-second window
Opening room tone
Between 1 and 5 seconds before the read begins
Closing room tone
Between 1 and 5 seconds after the read ends
Sample rate
44,100 Hz
File length
No longer than 120 minutes
A real review
Hear what a review finds.
This is Finality's review of a real song, with nothing staged. “Hands Where I Can See Them” was made with Suno by Finality's founder and uploaded like any other track.
Four findings the example acts on
- Rumble below the music is eating headroom
- Below 70 Hz measured 24.3 dB over the midrange.
- The tonal balance leans one way
- The lows measured 8.1 dB over the mids.
- One midrange note rings louder than the rest
- 554 Hz, 20.7 dB above the spectrum around it.
- The esses are piercing
- The 5.5–10 kHz band measured −37.1 dBFS across the song.
Finding titles quoted from the review, word for word.
Hear the suggested changes
3:16 to 3:29, the final chorus.
Your original
With the changes, at Strong
What changed, at Strong:
- Filter out the rumble under 40 Hz (12 dB per octave).
- Lower everything under 120 Hz by 4 dB.
- Reduce 554.3 Hz by 5 dB at Q 10.
- Turn the esses (5.5–10 kHz) down when they rise past −34.1 dBFS, at 4:1.
The ring is C#5, a note the song plays. At Strong the cut on it is 5 dB, enough to thin that note a little, so the review starts at Gentle there and lets you choose.
Measured after rendering: 7.0 dB lower at 40 Hz, 4.6 dB lower at 60 Hz and 5.0 dB lower at 554 Hz, each within a quarter of a decibel of what the changes add up to there. The de-esser took at most 4.5 dB, on 22% of the song.
Both clips play at the same loudness, so you hear the changes and not the volume: the original is turned down 2 dB to match.
An audiobook chapter, corrected and measured again
A public-domain LibriVox recording, The Conquest of Happiness, chapter 13, run through the audiobook room.
| Requirement | ACX asks | Before | After |
|---|---|---|---|
| Opening room tone | 1 to 5 seconds | Not met 0.9 s | Fixed 2.0 s |
| Closing room tone | 1 to 5 seconds | Not met 5.2 s | Fixed 3.0 s |
| Sample rate | 44,100 Hz | Not met 22,050 Hz | Fixed 44,100 Hz |
| Programme RMS | −23 to −18 dBFS | Not met −26.3 dBFS | Fixed −21.0 dBFS |
| Peak level | −3 dBFS or lower | Met −6.6 dBFS | Met −3.8 dBFS |
| Noise floor | −60 dBFS or lower | Met −101.4 dBFS | Met −94.7 dBFS |
Every requirement met. The level came up 5.8 dB, and a limiter held the loudest peaks so the louder read stays under ACX's peak limit. No moment was turned down by more than 2.7 dB, and each change is listed beside the download.
After-figures are measured on the MP3 you would submit.
Hear the chapter's opening
The first 24 seconds of the original, and the same words in the corrected copy.
Before
After
What changed across the whole chapter: programme RMS from −26.3 to −21.0 dBFS, the opening and closing room tone fixed, and the sample rate from 22,050 to 44,100 Hz.
Listen for the pause before the first word: 0.9 s in the original, 2.0 s in the corrected copy, lengthened with the recording's own room tone.
Measured on these two clips: RMS −27.1 dBFS before and −21.7 after, peaks −7.5 and −3.8 dBFS.
Song: “Hands Where I Can See Them”, made with Suno, used with the artist's permission. Audiobook: LibriVox, public domain.
Human-in-Control
Finality supports creative judgment. It does not replace it.
Finality does not replace creators, producers, or engineers. It gives humans a clearer picture of what the audio may need, and where it can return a corrected file it shows you every value that moved, so the final release decision stays where it belongs: with the people making the work.
You decide what matters
Finality gives context, not commands.
You keep your workflow
Use your own tools, ears, collaborators, and standards.
You own the final call
Finality does not distribute or publish your work, and never changes a file unless you ask for one.
Built for
Made for creators finishing serious audio.
Finality is designed for people and teams who need a trusted review pass before a public release.
- Independent artists preparing singles, EPs, demos, and masters
- Producers and engineers checking revisions before handoff
- Podcasters checking an episode's loudness, peaks, and pauses before they publish
- Narrators checking a chapter against ACX submission requirements before upload
- Audiobook producers checking a whole chapter set, where a title can be rejected even when every file passes
- Small studios supporting clients with practical release guidance
- Creator teams deciding what needs attention before launch
Start free
Make an account and listen closer.
Finality is free to start. Sign in with Google, or with an email address and a password, and review your first track in a few minutes. There is no card to enter and nobody to talk to first.
- 60 minutes of review a month, free, every month.
- Up to 3 projects, and reviews are kept for 7 days on the free plan.
- Only upload audio you own or have permission to use.
- Finality does not publish or distribute your work, and never changes your audio unless you ask it to.
Who it is for
- Independent artists, producers, podcasters, narrators, small studios, and creator teams preparing real releases.
- Anyone who can hear that something is not quite right and wants to know what it is.
What you get back
- Loudness, clipping risk, clarity, tonal balance, noise and dynamics, measured and explained in plain words.
- Timestamps for the moments worth going back to, so you are not hunting for them.
- A transcript of an episode, a chapter or a song, with captions as SRT, VTT and TXT.
- For songs, sheet music from your stems (Suno exports 8): the chord chart, guitar shapes and the first 8 bars of melody free; the full lead sheet, MusicXML, MIDI and tab when you unlock them.
What it will not do
- No automatic mastering, no distribution, and no replacement for your own ears.
- Every creative decision stays yours. Finality brings the evidence.
Pricing
Free to start. Pay when you need more.
A review uses minutes equal to the length of your file. A four-minute song uses four minutes.
Community
Free every month
60 minutes of review a month
Enough to review about 15 songs, or two half-hour episodes.
- A full review of every file: what was measured, where, and why it matters
- Hear suggested changes where a review has them, before you pay for anything
- 3 projects, one review at a time
- Reviews kept for 7 days
- No card to enter
Solo
$19 a month
400 minutes of review a month
For one person who finishes audio every week: about 5 podcast episodes or 33 songs, reviewed and downloaded.
- Just you, on one account
- 3 reviews running at once
- Unlimited projects, and reviews kept for 90 days
- Renews monthly until you cancel. Cancelling stops the next renewal.
Studio
$79 a month
3,000 minutes of review a month
For a team sharing one pool of minutes, or one person finishing a lot of audio.
- Up to 5 people on one team
- 10 reviews running at once
- Unlimited projects, and reviews kept for 180 days
- Renews monthly until you cancel. Cancelling stops the next renewal.
Minute packs
From $9 one time
Minutes that never expire
Used after your monthly minutes run out. Counted as reviewed and downloaded.
- $9 75 minutes About 1 podcast episode or 6 songs
- $29 300 minutes About 4 podcast episodes or 25 songs
- $59 750 minutes About 10 podcast episodes or 62 songs
Prices are in US dollars. Sales tax is added at checkout where it applies.
How minutes work
| File | Review | Download the corrected copy | Transcript |
|---|---|---|---|
| A 4-minute song | 4 minutes | 8 more | 4 minutes |
| A 30-minute podcast episode | 30 minutes | 45 more | 30 minutes |
| A 20-minute audiobook chapter | 20 minutes | 20 more | 20 minutes |
- A review uses minutes equal to the file's length. Downloading the corrected copy is your choice, and uses the extra minutes in the table.
- A transcript of a podcast episode, an audiobook chapter or a song uses its own length in minutes, the same as a review. Nothing is used if it does not finish. Captions come out as SRT, VTT and TXT.
- Sheet music from a song's stems: the chord chart, guitar shapes and the first 8 bars of melody are free. Unlocking the full lead sheet, MusicXML, MIDI and tab uses the song's length in minutes, once per song.
- Your original is never changed. A corrected copy is a separate file, with every change listed.
- Your monthly minutes are used first, then pack minutes.
A better final listen before you publish.
Start free with 60 minutes of review a month. No card, no sales call.
Sign in with Google, or use an email address and a password.
Get started free