REIGNING WET

WetMaster

Find what's fighting. Then master what's left.
1Drop your stems in you
In Logic: File → Export → All Tracks as Audio Files. Drop the whole folder in. A single mixdown works too, but then step 2 can't run — once tracks are summed they can't be pulled apart again.
Drop stems here
or click to browse — WAV, AIFF, MP3, FLAC
Stems
Finds any part sitting far above everything else in the range it lives in — the usual reason a lead jumps out — and any low-end tilt, then moves level only. No EQ, no filtering: each sound keeps its full tone and weight, it just sits where it belongs.
Drag TRIM to move one part up or down. It is applied before everything else, so the whole master rebuilds around the new balance instead of being carved out afterwards. Double-click a slider to reset it (to your bounce’s level, if you dropped one in).
2Fix these first you, in Logic
Wet Master can fix most of this for you — hit Fix my stems below and it applies the corrections to each stem before they're summed. Anything still listed above that button is genuinely beyond any tool: the information is already gone from the files, and the only remedy is to re-bounce.
Stem timing
A plugin with lookahead — a limiter, clipper or compressor — delays the track it sits on. Your DAW compensates for that, but stem exports often don't, so one part lands a few milliseconds behind the rest. This finds it and moves it back.
Needs your DAW bounce dropped in with the stems: stems can't be aligned against each other, because a kick and a hat are supposed to land at different times.
Applies the fixes above to each stem before they're summed — which is the only place a collision can actually be fixed. It ducks the yielding part only while the collision is happening, so nothing is thinned for the whole track. Levels are left alone; every move is listed below and you can dial it back.
100%
Drop in a finished track whose sound you're chasing. Compared on spectral balance, not level, so a quiet reference still tells you the truth.
2½Master FX — optional Wet Master does this
Anything on your Logic stereo output is in none of your stems — "Export All Tracks as Audio Files" takes each track before the master bus. Put that treatment here instead and it lands on the re-summed stems, before mastering: the same place it sat in the DAW. This is the screwed side of Wet Screwd.
off by default — it changes the track, not just the level
Captures the previous slice and stutters it. Runs before the slowdown, same as in the plugin, so a chop gets screwed with everything else.
Apply to
Treating only the back end of a track is how you get variance — a beat that drops into half-speed for the last eight bars, rather than one that was screwed the whole way through. The untouched part is left bit-for-bit alone and the two are crossfaded back together.
needs the tempo to be right
off — single tempo
Tick one and every repeat uses it. Tick several and each repeat picks among those — which is how you get random without half-speed in the mix.
Slows the tape: pitch and tempo drop together, and the track gets longer. That's the original screwed sound. (The plugin's Screw knob shifts pitch only, because it has to run in realtime — offline this way is cleaner.)
Vinyl high-end rolloff. 100% is fully open.
Equal-power curves (constant loudness, no dip in the middle). Applied to the full track, after every other master FX — so a fade-out on a screwed track rides the slowed length, not the original.
3Master it Wet Master does this
Pick where it's going. Everything else — compression, clipping, ceiling — is set from what your mix actually measures.
Simple
Advanced
Level for the bottom of your mix without compressing it. The low band was being compressed at the same ratio as everything else, and since that's where nearly all the energy in a beat lives, it took the most gain reduction of any band — which erases an 808's decay. A note that should fall away 12.6 dB was being held to 2.2 dB: a flat sustained tone instead of a note.
Pure gain — no compressor, no shelf EQ, no time constant. Nothing that changes the shape of the note.
Walks the low band's compression back toward off. At 100% your bass passes the compressor untouched. The final true-peak limiter still runs, so the ceiling is still guaranteed.
Not a low shelf. Boosting sub costs you every dB back at the limiter and does nothing on a phone, which can't move air at 40 Hz whatever you send it. This rebuilds the harmonics of your bass — the ear hears the missing fundamental from them — and lifts the attack of each note. Bass gets louder where it's actually being played back, not where it costs headroom.
applied before the compressor, so the chain glues it
Independent of the presets above: those set how loud the master is, this sets how the bass sits. Streaming + Bass forward is a normal combination, not a contradiction.
Your mix, as it came in
After mastering
Both play at the same loudness on purpose. Louder always sounds better, so an unmatched comparison only tells you which one is louder.
before after ceiling limiter working click or drag to scrub · both drawn at matched loudness, so grey showing above teal is what the limiter removed 0:00 / 0:00
Leave headroom. Mix so the bus peaks near −6 dBFS. Most "my master distorts" problems start here.
True peak ≠ sample peak. Your DAW meter shows sample peaks; MP3/AAC encoding rebuilds the waveform between them and overshoots. Ceiling at −1 dBTP.
Don't chase loudness. Streaming normalises to roughly −14 LUFS. Crushing to −8 doesn't play louder, it just plays flatter.
Fix masking before compressing. When two elements collide, a limiter only hears "too loud" and ducks the whole mix — that's what pumping is.
Dither once. Only on the final bit-depth reduction, never twice.