How it works
A producer in the room. You're still the artist.
You say what you want to hear. False Audio works out which track you mean, listens to it, and proposes a change. You hear it against your own sound, then keep it or let it go. Every decision stays yours.
Two plugins
The Hub and the Link
A plugin can’t reach into the other tracks of a DAW. So False Audio puts a Link on each track it works on, and the Hub talks to the Links directly, on your computer.
Links find the Hub on their own and reconnect if you reload the project. If more than one Hub is running, the Link’s header lets you pick which one it follows.
Hub
One per project, usually on the master bus
The assistant. It holds the conversation, the list of tracks it can reach, and the change history. It passes audio through untouched.
Link
On each track you want it to work on
Holds the processing chain and listens to the track. Every stage is off until a proposal or you turn it on.
Link MIDI
On instrument tracks, as a MIDI effect
Transposes, quantises and adjusts the velocity of incoming notes, live. You set it by hand for now.
The conversation
Talk the way you already do
You don't need the vocabulary. “Less boomy”, “more air”, “make it hit harder” all work, and so do “cut 300 at Q 2” and “3:1 with a slow attack”. It matches the track by its name in your DAW, or by the label you give the Link. Before your first request, play the song for a few bars: each Link listens to the last 8 bars it heard.
The moves come from a library of mixing practice: for each instrument and goal, the frequency ranges and amounts engineers use. They’re then fitted to what the Link measured, so a mud cut lands on this guitar’s build-up rather than a textbook number.
| You type | What happens |
|---|---|
| “EQ the guitar” | With two guitar tracks, it asks first: “Gtr L, Gtr R, or both?” |
| “Add a little compression and a short room reverb to Gtr L” | One proposal with a compressor move and a reverb move, each with its reason. |
| “De-ess the vocal” | A dynamic EQ band at the sibilance peak it measured, which only cuts on the “s” sounds. |
| “Push the mud cut on Gtr L to 5 dB” | Allowed past the usual 3 dB limit, because you asked for it in so many words. |
| “Make the backing vocals wider” | On a mono track it explains that widening won’t do anything, instead of trying. |
| “Undo that” | The last change comes off. This runs on your computer, with no request and no credits. |
Proposals
Every change starts as a suggestion
A request ends in one proposal card, or a question if it needs one. A language model (Claude, from Anthropic) chooses the moves. Then checks in the Hub decide whether they’re allowed, before you hear anything.
Make the vocal sit forward
- Found Lead Vox
- Listened to the last 8 bars
- Checked the limits
- Bell 320 Hz−2.0 dBClears boxy build-up under the words
- Bell 3.4 kHz+1.5 dBLifts presence so the lyrics cut through
- Compressor3:1Holds the level steady against the band
The track
Which track the proposal changes. A proposal only ever touches tracks you named or picked.The moves
Each setting, such as “bell, 320 Hz, −2 dB”, with a one-line reason and its source: a mixing-practice entry or a measurement.Confidence and cost
How sure it is, and how many credits the request used. If it isn’t sure enough, it asks a question instead.Apply, A/B, Tweak, Cancel
Audition it, scale it up or down, apply it, or drop it. Nothing changes until you press Apply.
A/B in the Link
A/B plays the proposal through the Link so you can switch between your current sound and the new one. The Link’s settings don’t move, nothing is saved, and if the Hub disconnects the preview stops.
Apply writes real settings
Apply sets the Link’s parameters the same way turning its knobs would. Your DAW saves them with the project, can automate them, and shows the change in its own undo history.
Undo
Try anything. Undo everything.
The Hub keeps its own history of changes, saved with your project, so undo works in every DAW and is still there when you reopen the session. Type “undo that” or pick an entry in the history.
Undo is precise. It puts back the settings a change made, and leaves alone anything you have adjusted since. Turn a knob on a Link and that setting is marked “set by you”: later proposals won’t change it.
Limits
Gentle by default, bold when you ask
A plan that breaks a limit goes back to be revised before you see it. By default:
- Up to 3 dB per EQ band or trim, and 6 dB of EQ and trim gain per request. Say “a lot”, or give the number, and the limit goes up.
- No plan that would push the track’s peaks over 0 dBFS.
- No widening of a mono track, or of one whose left and right are out of phase.
- Compression, saturation, transient and reverb amounts stay within moderate ranges unless you ask for more.
- No change to a setting you made by hand.
What to expect
What it can and can’t do, honestly
It can
- EQ, dynamic EQ and de-essing, compression, transient shaping, saturation, stereo width and reverb on any track with a Link.
- Work from what the track sounds like, not a fixed preset per instrument.
- Explain each move in one line, so you learn what it did and why.
- Ask when your request could mean more than one track.
- Undo any change it made, one step at a time.
It can’t
- Reach a track that has no Link on it. It tells you when that’s the case.
- Generate audio, stems or vocals.
- Mix or master the whole song in one go.
- Adjust your third-party plugins or your DAW’s own EQ and compressor. It uses the Link’s processing.
- Change anything in the background. Every change is one you applied.
- Plan new moves without an internet connection. Undo, A/B and the Link’s own controls still work offline.
Not in this version
Planned, with no dates yet:
- Voice commands (push to talk)
- A review of the whole mix with a list of suggestions
- MIDI edits and generated MIDI parts from a request
- Reverb on a send. Today the reverb sits on the track itself
- Windows
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