Sample report. A real analysis of the mix “Hat Guy”, as the app shows it. Buttons that need the app are left out. ← mixalyze.com

Hat Guy

Indie Rock · 19 refs2:46 · 48.0 kHz · FLOAT-bit · stereo · v17 · bus stems
Next 3 movesfaults first, then moves and measured checks, by what they cost the score; every figure is a stored finding
  1. 84 HzdoNo single EQ cut settles the kick and bass at 84 Hz: even out the level instead.
    Where
    Worst at 1:54 to 2:03; also 0:45 to 0:51, 1:18 to 1:24 and more; measured over the whole bounce.
    How sure
    Measured directly.
    Check
    Next capture: Kick vs bass at 84 Hz, now 39% of the song contested; done when this region no longer asks for a move.
  2. This mix -7.1 dB vs integrated loudness. Your references: middle 80% from -10.7 to -7.6, median -8.9, all of them from -14 to -6.9. The mix sits above most of the references (over their 90th percentile).-10.7-7.6
    Low bass 60-100 Hz, levelmeasuredLow bass 60-100 Hz, level: -7.1 dB vs integrated loudness. No sized move: bring it down toward the references.
    Where
    Not located in time: measured over the whole bounce.
    How sure
    Measured directly; above 18 of the 19 references.
    Check
    Next capture: Low bass 60-100 Hz, level, now -7.1 dB vs integrated loudness; done at or under the references' 90th percentile, -7.6 dB.
  3. Clickscheck by earClicks: 1 clicks. No sized move: listen at the times listed; put a short fade on the edit there, or re-render if it is a glitch.
    Where
    Worst at 2:22; measured over the whole bounce.
    How sure
    Check by ear.
    Check
    Next capture: Clicks, now 1 clicks; done when no isolated click is found.
96
Pre-master health
100
Readiness
-18.5 LUFS -2.21 dBTP 8.2 LU 18.4 dB 33%

05 Moves measured

What to do, in the order it matters, assembled from the measured sections. Nothing here is new: each line restates something measured.

1 to do4 notes, nothing to do
84 Hz
No single EQ cut settles the kick and bass at 84 Hz: even out the level instead.even it out
The kick and bass share 84 Hz in 39% of the song. A single bell cut on the kick or the bass there, up to 12 dB, doesn't settle it: it leaves the clash or moves it to another band. In the stretches where both play there, the gap between them ranges 20.6 dB across the song; the bass itself moves 23.5 dB and the drums 5.4 dB. It is the bass that moves: find the passages where it swells there and steady it - compression, a dynamic EQ that follows its own level, or a fader ride.
168 Hz
Leave 168 Hz: the upper bass collides no more than most references.
The upper bass (100-200 Hz) collides 0.35 here, on the references' scale; 8 of the 16 references with real upper bass collide at least as much, and the line for a move is their 90th percentile, 0.45. Good records carry this much overlap, so the region gets no cut. 168 Hz is the bass's E3; the snare only passes through here; but the upper bass as a whole is judged within the references (the reference gate), so leave it. Contested in 24% of the song. The references are mastered records and this mix is not; the mix-bus chain left this figure unmoved on three songs, but what mastering does to it has not been measured.
150 Hz
Leave 150 Hz: the upper bass collides no more than most references.
The upper bass (100-200 Hz) collides 0.35 here, on the references' scale; 8 of the 16 references with real upper bass collide at least as much, and the line for a move is their 90th percentile, 0.45. Good records carry this much overlap, so the region gets no cut. 150 Hz is the snare's body; the bass only passes through, so dip the bass here on the snare hits; but the upper bass as a whole is judged within the references (the reference gate), so leave it. Contested in 17% of the song. The references are mastered records and this mix is not; the mix-bus chain left this figure unmoved on three songs, but what mastering does to it has not been measured.
Vocal
3.7 dB under the mix (separated like the references), inside the references. Leave it.
Separated with Demucs, the way the references were measured, the vocal is 3.7 dB under the mix by integrated loudness; the references sit between -6 and -3.5 dB. On your vocal bus it is 2.9 dB under the mix. It rides 6 dB between its quiet and loud passages.
3.0 kHz
The vocal's clarity at 3.0 kHz is clear: nothing covers it enough to carve.
Share of the sung time each bus is louder than the vocal there: the guitars, synths and keys 7%, the snare 1%. A carve starts at 40%.
Explanation

Scored for an unmastered bounce, from the findings in the tabs: each flagged one takes its share off its area, so every point lost is something you can open and read. A quiet or dynamic mix never loses points; only a squashed, hot or clipping one does. Hover any score for the detail.