Technical tools for audio and video workflows

Audio

• LUFS & mix True peak, loudness, dynamics, mono and resonances — and what each platform will do to it. Available
• BPM & key Tempo, key and scale from one file, plus the delay times that fit the tempo. Available
• Reference comparison Your master against the average of up to five records you admire. Available
• File checker Format, rate, headroom and saturation — what would block a mix, found before it does. Coming
• Loudness booster Raise and even out a level, without crushing what gives the track its impact. Coming
• Vocal mixer Hiss, sibilance, level and presence on a dry vocal take. Coming
• Vocal on a beat Line a vocal up with an instrumental: timing, balance and level. Coming
• Vocal remover Pull the acapella or the instrumental out of a finished track. Needs heavy compute
• Audio converter WAV to MP3, sample-rate changes, and trimming a head or a tail. Coming
• Piano A keyboard to hunt the note you are singing, with its name and its frequency. Available
• Tone generator A sine to sweep the band, plus white, pink and brown noise, level in your hands. Available
• Note & frequency Note to frequency and back, at A=440 or A=432, with the cents off. Available
• Transfer time How long a card or an upload will take — and your card's real read speed, timed here. Available

Video

• Field of view How wide you frame, which lens gets it, and how far back you have to stand. Available
• Shutter & ND The shutter speed for any angle and frame rate, and the ND filter that gets you there. Available
• Depth of field What stays sharp in front of and behind the subject, and the circle it assumes. Available
• Rushes size How many gigabytes a shooting day leaves behind, and how long a card lasts. Available
• Aspect ratio Ratios, missing sides, and how much picture a reframe throws away. Available
• Timecode Duration, frames and timecode at any rate — drop frame included. Available
• Video compressor Cut the weight of a video without wrecking it, before you send it. Coming
• Video bitrate The bitrate each platform actually publishes — and who publishes nothing. Available
• Green screen How big a screen you need, how far to stand, and what ruins a key. Available
• Shoot time Studio hours, from the number of shots, changes and people to get through. Coming
• Checklist The things that actually get forgotten and cost an hour on set. Available
• Glossary Sixty terms you will hear on a shoot, defined by what they change. Available

The tool situates. It does not judge.

Each tool here is built around a specific question encountered in real production work. A pass-or-fail against a broadcast standard is easy to compute and rarely one of them: the record you are trying to sound like would fail the same test, and has a hundred million streams. Compliance is not usually what an artist is after — being in the same place as the records they admire is. So the standard is named where it helps you predict what a platform will do to your file, and the verdict is left to you.

Two things stay strict here, because they do not depend on style. Mono compatibility: whatever cancels really does disappear, on a large share of listening. And resonances: a narrow peak that stands above its neighbors and holds for the whole track is worth removing whatever the genre — it is usually the room, and taking it out costs the record nothing.

Style ranges will come from measurements on real records. Until they are measured, they are not invented here.

Why resonance detection matters more than “too much bass”

A home producer does not have too much low end — the style wants it enormous. What they have is a narrow resonance, typically around 60 Hz, that their speakers never showed them. A tight EQ or a multiband compressor on that exact spot drops the measured energy with no audible consequence; pulling the kick down would destroy the record.

Separating the two is a matter of time, not of level: a held note comes and goes, a resonance stays. Alumire measures how persistent each peak is across the whole track and only reports what holds — otherwise it would accuse every bass line in the world.

Your files stay with you

Every tool here processes your file locally in your browser; nothing is uploaded to Alumire's servers. Your media does not need to leave your machine just to be measured. No account, no queue, no monthly quota. Load a page, pull the network cable, and the tools keep working — which is the simplest way to check the claim.

The whole plan is on the table, finished or not

Tools marked Coming are not live yet — their page says what they will do and why. We would rather show the complete map than a polished fragment of it: an idea that helps nobody is easier to drop when you can see it next to the others.

Everything marked Available works today, and its measurements follow the published standards — loudness to ITU-R BS.1770, checked against the EBU reference signal. One tool is marked Needs heavy compute: that one is not waiting on time, it is waiting on a way to run a machine-learning model without charging you for it.

We built the tools we needed ourselves

Alumire started with small utilities made for our own audio and video work, inside a Paris recording and film studio. Sharing them means they encounter more files, more workflows and more edge cases than we could ever reproduce alone.

Your feedback improves the tools. Those improvements make their way back into our own work too. That exchange is what keeps Alumire useful.

The people writing it mix and master urban music every day, and that is the bias — rap, reggaeton, ragga and electronic music are what we know. The measurements are standard, LUFS to ITU-R BS.1770 checked against the EBU reference signal; the reading we give them comes from that practice.

French versions of these tools run on leizart.fr and plateau-de-tournage.fr, on the same engine and the same measurements.