False Audio
Every song deserves a producer.
You already hear it: the vocal that floats, the drums that hit, the room around the piano. False Audio sits inside your DAW and helps you get there, one move at a time, in your own words.
300 free credits to start. No card needed.
Why we're building False Audio
For most of recorded music, a record that sounded finished needed a studio, an engineer and a budget.
The songs were never the rare part.
Access was.
We're building AI that puts a producer's ear in every bedroom, rehearsal room and laptop. So that anyone with a song in their head can make it sound the way they hear it. Working for musicians. Never instead of them.
Our promise
Your music is yours.
AI should mean more people making music, not fewer. It should learn your taste, not take your work. So False Audio is built around a few things we won't trade away.
Your recordings stay with you.
The Links listen on your own computer. When you ask for something, the Hub sends your words and a handful of measurements, like levels and loudness. Never the sound itself.
Your music is never our training data.
We don't build AI models from what you make. Not your songs, not your stems, not your sessions. Your work stays yours.
Every decision is yours.
It proposes a move; you hear it against your own sound, then keep it or let it go. Nothing touches your mix until you say so, and everything can be undone.
Only what you asked for.
Ask about the guitar and only the guitar changes. Turn a knob yourself and that setting is yours: later suggestions leave it alone.
For everyone who makes music
Producing used to be a job title. Now it's a conversation.
You don't need to know what a dynamic EQ is to hear that a vocal sounds harsh. Say what you hear. Every move comes back with a one-line reason, so you learn what a producer would do, and why, by listening.
“make my voice sound less thin”
The songwriter with a voice memo and a melody
“the kick and the bass are fighting”
The band tracking demos in a garage
“warm up the piano, just a bit”
The beatmaker at two in the morning
“cut 300 on the guitars, Q of 2”
The producer who wants a second pair of ears
In the session
Like having a producer in the room.
Say it
In your own words, the way you'd say it to someone at the desk.
It listens
Each Link measures its track as you play: tone, peaks, loudness, width.
It proposes
One move at a time, every setting with a one-line reason.
You decide
Hear it against your sound, keep it, tweak it, or undo it.
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 craft
Real studio tools, on every track.
Every Link carries its own signal chain, so a move sounds the same in whichever DAW you use. Each stage stays off until a move or your own hand turns it on, and none of it adds latency.
- 01 · EQ
EQ
Eight bands: high-pass, low-pass, bells and shelves. Any bell can be dynamic, so it only cuts when that frequency gets loud. That is how it de-esses.
- 02 · COMP
Compressor
Soft-knee compression with a parallel mix, for steadier levels or more density.
- 03 · TRANS
Transient shaper
Adds or removes attack and sustain, for more crack on a snare or less ring on a tom.
- 04 · SAT
Saturation
Tape, tube or clip character, with a tone control for the harmonics it adds.
- 05 · WIDTH
Stereo width
Mid/side width, with the low end kept in mono below a set frequency.
- 06 · VERB
Reverb
A reverb on the track itself, with pre-delay, damping, and low and high cut on the wet signal.
Make the song you hear in your head.
Start with 300 free credits. After that, you only pay for the requests you make.