Submit your audio and your Mix Lock track export — and get back a structured, prioritised report built around your specific mix and your actual macro positions. We hear the problem and we can see where it's coming from.
Structured, in-app mix feedback — submitted and received directly through Mix Lock — is coming as a Pro edition upgrade. The workflow shown below is what's being built. It isn't available yet.
When the Pro edition launches, existing licence holders upgrade at the difference in price only — you never pay for what you've already bought.
Write and arrange in Ableton using the Mix Lock template. The macros are mapped but untouched at this stage — just make the music.
Mix Lock gives you the listening cues — what to identify, what to fix. You adjust the macro in Ableton, and the bridge mirrors the value into Mix Lock automatically. Every decision recorded as you make it, with no manual logging.
Your track export is a complete snapshot of every macro position across every channel — your full mixing decision record, captured live by the bridge. Send it with your audio for feedback.
This is not an AI report. This is a producer listening to your track — really listening — and translating what they hear into specific, signal-chain-aware fixes.
Every finding is anchored to the Mix Lock knowledge base. If your kick is masking your bass, you get the specific frequency range, the cause, the fix, and the Mix Lock stage it belongs to. Not vague notes. Actionable guidance.
Available to Mix Lock licence holders only.
Fixes are always prioritised at the lowest level in the signal chain. A master problem that is actually a channel problem gets identified as a channel problem.
The report is structured the same way Mix Lock is structured — by channel, by stage, by priority. So you can go straight from the feedback into the system and start working.
Overall impression, what's working, where energy is being lost — before any specific issues are logged.
Problems ranked P1 (critical) through P3 (refinement). Channel identified, root cause, specific fix action.
Every issue links to the relevant Mix Lock stage, encyclopedia entry, or problem category — so you know where to go next.
Specific positives are noted — this is not just a list of problems. Understanding what's already right matters too.
Issues are mapped to the Mix Lock mixing stage they belong to — so you address them in the right order, not just in any order.
If you book multiple rounds, each report closes with a specific focus list for your next revision — keeping momentum.
Every Mix Lock feedback submission works differently to any other feedback service. When you submit, you send two things: your audio file, and a Mix Lock track export. That export contains a complete snapshot of your macro positions across every channel — every compression ratio, every EQ curve, every reverb send level, every saturation drive — exactly as your session stands.
That means when your track arrives for review, the listener has your ears and your setup at the same time. We're not just listening to what came out — we can see what went in.
If something sounds wrong, we can immediately check whether a macro position is the cause. If the macro looks right, we know to go deeper. If it doesn't, we can tell you exactly what to move and by how much — not as a guess, but because we can see the value. A problem that sounds like a master issue might be a single channel compression setting. We can see which.
This is only possible because Mix Lock creates a standardised, readable record of your entire mixing setup. No other feedback service can do this — because no other service has the tool underneath it.
This service is exclusive to Mix Lock licence holders. Submission requires both your audio file and a valid Mix Lock track export — without the export, macro health analysis cannot be performed and the session cannot proceed. Don't have Mix Lock yet? Get your licence →
Sub bass does not duck fast enough after kick transient. The kick is losing punch because the sub is not clearing space. Sidechain attack is too slow — around 10–15ms is masking the transient. Drop to 2–4ms attack. Also check that the kick is not also present in the bass channel's sidechain source — if it's a duplicate, the timing will drift.
The sub fundamental at ~40Hz is being cut by what sounds like a high-pass set around 55–60Hz. The bass has presence in the 80–120Hz region but no real sub foundation. Drop the high-pass to 28–32Hz or remove it entirely and manage sub content with sidechain instead. This will also take pressure off the limiter.
The lead has a brittle edge in the 3–5kHz region that becomes fatiguing after 16 bars. A narrow cut of around 2–3dB at approximately 4kHz will clean this without dulling the attack. Check if saturation on the lead channel is amplifying this range — it often does on supersaws with a wide unison spread.
The main reverb tail is crossing the bar boundary into the breakdown. Not always wrong, but here it softens the drop re-entry impact. Consider a shorter pre-delay or a subtle high-pass on the reverb return to let the low-end cut cleanly at the section change.
One full feedback report. Prioritised issues, what's working, stage references, and next-round targets if you decide to continue. Mix Lock licence required to submit.
Four consecutive feedback rounds on the same track as you iterate — each report builds on the last, tracking your progress and adjusting priorities. Mix Lock licence required to submit.
Mix Lock licence holders send their audio file (WAV or MP3) plus their Mix Lock track export. The export carries your full macro positions — without it the session cannot proceed.
Your track is listened to in full, multiple times, across different monitoring setups. No automated scanning.
A full written report is prepared — structured around Mix Lock's channel and stage framework, with prioritised fixes.
You receive the PDF and go straight into Mix Lock to work through the fixes in order. Then optionally submit again for Round 2.