DINE
Other DAWs were built for the studio. DINE was built for the live stream. Give it thirty seconds of your band and it builds the professional mix that usually takes hours, every week.
For Mac. Free for 14 days, then $39.99 a month or $249 once.
What takes an engineer hours of manual work across dozens of channels, DINE builds into a professional starting mix in about thirty seconds.
Line check, mic placement and a clean signal are still your job. Once the audio is in, TUNE MIX builds the mix.
One thirty-second listen sets every channel, bus, effect and the master.
Once the show starts, it keeps the balance you set as vocals, instruments, speech and dynamics change.
Ask in plain words, hear the change and read why. Troubleshoot without leaving the mix.
Press S and the channel goes to your headphones on its own bus. The broadcast and the room keep the mix, untouched, for the whole show.
Before or after the fader. PFL hears a muted channel too. AFL hears it the way it sits in the mix.
Two devices, one choice. Broadcast on one interface, solo on another. DINE joins them and keeps them in sync. You just pick where each goes.
Audition without risk. HEAR IT plays a drum sample into your headphones only. The broadcast never hears an audition.
Same channel, same mix. The operator and the engineer just read it differently.
Five words that mean something. WARMTH, CLARITY, SMOOTH, STEADY, CLEAN-UP. And a sentence telling you which one to touch.
The engineer’s words, gate, compressor, de-esser, are in Advanced.
The EQ curve, the compressor, every threshold and release, and the reason DINE set each one. Overrule anything.
One live stream, before and after one TUNE MIX. Switch while it plays.
Unedited. Both sides are matched for loudness, so you hear the mix, not the volume.
Trigger a sample from any kick, snare or tom mic. The microphone is never delayed, so the kit stays in phase with the overheads, and nothing on the channel adds latency.
Pick a sound, set how much of it you hear, and audition it in your headphones before the room ever does.
Drop WAV files in ~/Music/DINE/Samples and they appear here.
Kick, snare and every tom. DINE fits each detector from the listen, and tunes the rest of the kit around the samples.
A tom that only heard the snare plays nothing.
Blend by default. The room hears reinforcement, not a drum machine. A soft hit plays the sample softly.
Bleed held back. The detector listens for the drum, not the kit around it. Hits that are really another drum are held.
Your own library. Drop WAV files into a folder and they appear after the built-in sounds, with velocity layers if you have them.
When DINE changes something, it says what and why, next to the number. Keep the lot, or overrule any line.
Heard 14 inputs, proposed 22 settings and 9 levels. The lead now sits over the band.
She sat under the band in the chorus.
They covered the lead between 1 and 3 kHz.
The kit jumped 8 dB between verse and chorus.
Timed to the song at 72 BPM.
Lands the mix on −23 LUFS.
Turn input 14 up about 6 dB. DINE did not raise it.
Loudness-matched A/B. BEFORE and AFTER play at the same level, so you judge the mix, not the volume.
Timed to the song. Delays and reverb tails follow the tempo it heard, not a default 120 BPM.
Nothing is hidden. KEEP it, REVERT it, or open any channel and change the one thing you disagree with.
Mix Buddy turns a sentence into a change you can hear before you keep it.
She sat 2 dB under the band in the chorus. The keys were covering 1–3 kHz.
Autopilot keeps the mix where you left it, one small move at a time, and says why. Touch a fader and it’s yours again.
If the mix stays healthy it does nothing. It moves group faders only, slowly, within a few dB of the mix it was engaged on.
Give it a record you love. The master is aimed at its tone and loudness.
Speech priority. Off until you want it.
DIM and MUTE on every feed but yours.
Your headphones stay on.
Check Inputs, before anyone walks on.
Also in DINE: LIVE SAFE, scenes, track history, input maps, themes, and loudness targets for every stream. All features ›
Six ways people use DINE, each with its own page.
Voices first, at the loudness the platform expects.
DINE for streams and podcasts ›A professional starting point in about 30 seconds. Every number still yours.
DINE for audio engineers ›A cover, a session, a set. Bring the tracks, post the mix.
DINE for musicians and creators ›Stems from your DAW, a folder from your interface, or the multitrack your console saved to its SD card. You don’t need to know how to mix. You need to know what you want it to sound like.
A folder of WAV files is enough. DINE names and groups them: drums, bass, music, vocals.
Choose a sound profile, or give it a song you love as a reference. TUNE MIX builds the mix.
A stereo mix at the loudness video and music platforms expect. Stems too, if you want them.
You record every service, every rehearsal, every cover. Mixing each one from zero is hours you don’t have, so most of it never gets posted. DINE keeps your input map and your sound, so this week’s tracks come back sounding like last week’s. Change what you want, or post it as it is.
Every feature either way, and free for 14 days first.
We’re working closely with a few churches, bands, venues and creators this season. You get DINE, direct access to us, and a say in what we build next.
Coming soon
The drums, vocals, keys, guitar, bass, FX and master processing from DINE, as plug-ins for your studio. Leave your email and we’ll tell you first.
A DAW for live broadcast and recording. It listens to your band for thirty seconds, builds the mix an experienced engineer would, sends it to the stream at the right loudness, and records every input while you do.
Yes. The Simple view shows five words per channel and a sentence telling you which one to touch. The numbers underneath are there when you, or your engineer, want them.
If your Mac sees it as an audio device, DINE can mix and record it. That includes USB interfaces, digital consoles and network audio through a virtual soundcard.
No. Worship teams use it every week, where the mix has to be right with no second take, and it ships with profiles for rock, R&B and hip-hop, jazz and acoustic, and talk and podcast.
macOS 11 or later, Apple silicon and Intel. Windows is planned.
No. Mixing, recording, TUNE MIX and Mix Buddy all run on your Mac. A cloud model for Mix Buddy is optional and off by default.
Yes. Put WAV files in ~/Music/DINE/Samples under kick, snare or toms and they appear after the built-in sounds. A folder of files becomes one sound with velocity layers.
Yes. Export the stems, or take the multitrack from your console’s card, and drop the folder in. DINE names and groups the tracks, then TUNE MIX builds the mix.
Engage Autopilot while the band is playing and DINE holds that mix: group faders only, half a decibel at a time, never more than 4 dB from where you engaged it, and every move is written into Mix history with the reason. Touch a fader and that group is yours again. Turn it off and nothing moves back.
No. DINE keeps your input map and your sound, so this week’s tracks come back sounding like last week’s. Change what you want, or post it as it is.
Yes, twice. The player under Hear the difference plays one live stream before and after a single TUNE MIX, matched for loudness. And the download is free for 14 days, every feature included, so you can hear your own room.
The drums, vocals, keys, guitar, bass, FX and master processing from DINE, as plug-ins for the studio DAW you already use. They are coming soon; leave your email and we’ll tell you first.
Download DINE and use every feature free for 14 days. When it ends, pay $39.99 a month for as long as you need it, or $249 once and it is yours. Your sessions and recordings are plain files that stay yours either way.
Your personal mix engineer. Monthly, or once and it’s yours. For macOS 11 or later.
Free for 14 days, every feature included. Then $39.99 a month, or $249 once.