Professional audio mixing and mastering system for iPad.


Combining a Maximizer, Pre and Post Equalizers, 4-Band Dynamics, Stereo Imager, Reverb and Dithering into one system, Final Touch gives your mixes a huge, balanced, polished and professional sound.

The world’s best mobile audio post production tool

We’ve created a mobile-first mixing and production platform from the ground up by adapting nuanced audio tools for a world on the go, wherever you roam. Whether pro or hobbyist, you’ll appreciate using this revolutionary new tool, always at your fingertips, to finish your hard work in production with sterling results.

Combining seven powerful audio processors into one integrated app, Final Touch offers a balanced, polished and professional sound that exhibits the overshoot response of classic analog hardware.

Top-Notch Sound Quality

Building on Positive Grid’s expertise in DSP research and skillful integration of iOS Double Precision vDSP architecture, Final Touch is a dedicated audio post production system with high data integrity and high resolution processing capability.

The result is a set of creative and professional tools that deliver masters that sound not just louder but clearer, wider, fuller, and more powerful and detailed.

Home, studio and beyond

But Final Touch isn’t just about stellar sound quality. It’s also about portability and creativity.

Because it lives in your iPad, Final Touch lets you take your mixes out into the real world where they will be heard, so you can perfect them for different playback environments on-site. Wherever your iPad travels, your mastering sessions go with Final Touch, allowing you to finesse your mixes for optimal sound quality on every conceivable playback system.

The pros agree

“Finally a serious minded app to master your music on the iPad! It’s extremely easy to use and you don’t need any more tools to package and present your music.”

– Rafa Sardina, 12-time GRAMMY award winning producer and engineer, whose credits include Lady Gaga, Michael Jackson, Beyonce, and more.


Musicians on the go

“I’m really digging the open top end of the EQ section and how the Maximizer is glueing this mix together. This is a flexible, very cool audio app for modern musicians on the go.”

– Enrique Gonzalez Muller, Grammy Award-winning producer and engineer (credits include Nine Inch Nails, Dave Matthews Band, Tina Turner, and more).


Studio-standard quality

“Final Touch is a very solid, accurate and accessible tool.”

– German Villacorta, music producer & engineer and owner of Dynamic Wave Studios, whose credits include Ozzy Osbourne, Alice Cooper, Lynch Mob, and more.


All-in-one package

“Finally, the professional mastering app for iPad I have been waiting for! With a clear and intuitive interface, streamlined workflow, powerful effects, and full cloud support, this app makes professional mobile mastering a reality!”

– Andrea Pejrolo, Assistant Chair of the Contemporary Writing and Production Department at Berklee College of Music”

Point Blank (London) Music School Tutorial

Mastering on iPad – Inter-App Audio: Positive Grid Final Touch (Part 8)

We explore routing apps through Positive Grid Final Touch's Inter-App audio function to process other [...]

Mastering on iPad – Presets and Exporting: Positive Grid Final Touch (Part 7)

Mastering on iPad is here with Positive Grid's Final Touch. In part 7 of our [...]

Mastering on iPad – Reverb Section: Positive Grid Final Touch (Part 6)

In part 6 of our mastering on iPad video series we look at the reverb [...]

Mastering on iPad – The Maximiser: Positive Grid Final Touch (Part 5)

In part 5 of our mastering on iPad video series we look at the maximiser [...]

Mastering on iPad – Stereo Enhancement: Positive Grid Final Touch (Part 4)

In part four, Mo Volans looks at the stereo enhancement tools available in Positive Grid's [...]

Mastering on iPad – Multi-band Dynamics: Positive Grid Final Touch (Part 3)

Mo Volans takes a look at the multi-band dynamics processing in Positive Grid's new app [...]

Mastering on iPad – Using EQ: Positive Grid Final Touch (Part 2)

We explore the EQ section of Positive Grid's new app for mastering on iPad: Final [...]

Mastering on iPad – Overview: Positive Grid Final Touch (Part 1)

Point Blank explores Positive Grid's Final Touch, a new app for mastering on the iPad. [...]



Pre and Post Equalizers
The Pre and Post Equalizer modules are typically placed before and after the Multiband Dynamics (Multi-Dyn) module, respectively. A typical application is to boost with the Pre EQ in a specific band while compressing dynamics in the same band using Multi-Dyn, thereby increasing sonic density in that particular spectrum. The Post EQ can then be used to put the finishing touches on the spectral balance for the master. Both the Pre and Post EQ offer eight independent bands, each providing a choice of five different types of parametric filters: Hi-Pass, Low-Shelf, Peak, Hi-Shelf and Low-Pass. These high-end filters exhibit the overshoot response of classic analog hardware. Each band can be independently bypassed. The Pre and Post EQs can operate in either stereo or mid-side mode, and you can link the left and right channels or the mid and side channels for simultaneous adjustments. Linkable output-gain faders allow you to adjust the relative balance of L/R and M/S channels at the output of the module and are accompanied by multi-colored ladder meters and fader and level readouts.

Multi-Dyn is a highly flexible stereo/mid-side multiband compressor/limiter. Each of Multi-Dyn’s four bands can operate independently on the mid or side channel and offers separate and continuously variable attack, release, threshold, ratio and output-gain controls. Tapping on the All button for any control allows simultaneous adjustment of that control for all bands, facilitating quick global adjustments. The highly-resolved ratio control permits fine-tuned adjustment from 1:1 to 30:1, providing effects ranging from subtle compression to hard limiting. Linkable faders adjust input and output gain for left and right channels in stereo mode, and mid and side channels in mid/side mode. Accompanying each fader set are high-resolution, multi-colored ladder meters and fader and level readouts.

Stereo Imager
The Stereo Imager module adjusts the width of your mix, corrects L/R channel imbalances and checks mono compatibility. The continuously variable Stereo Width control adjusts the relative balance of mid and side channels and includes a level readout in dB to help guide your hand. Other continuously variable controls—each featuring an attendant readout—adjust the pan position of the left and right channels and provide a Mono Filter for the entire mix. The Mono Filter collapses to mono all frequencies below a high-pass filter’s cut-off, producing a more focused bottom end. Tap separate buttons to flip the left and right channels’ positions in the soundstage, alternately monitor in mono and stereo, and independently invert the phase of the left or right channel. A Lissajous Vectorscope displays inter-channel correlation in an easy-to-read format that helps you assess stereo width and mono compatibility. Linkable faders—accompanied by high-resolution, multi-colored ladder meters—adjust output gain independently for left and right channels; linking the faders allows simultaneous adjustment while maintaining offsets. Readouts are provided for L/R fader settings and channel output levels.

The Reverb module offers flattering room, hall and plate algorithms to sweeten overly dry mixes. Each algorithm provides continuously variable controls for independently adjusting Pre-Delay, Decay Time, Early Reflections and Room Size. Draggable nodes on a graphic display adjust the corner frequencies for high- and low-pass filters that affect only the reverb, preserving the dry sound’s full bandwidth. Reverb can be applied in different amounts to the left and right channels in stereo mode, and to the mid and side channels in mid-side mode. Separate faders adjust the output levels of Dry and Wet (reverb) audio and include associated percentage-based readouts. Tap on the Solo Wet button to hear only the reverb portion of the module’s output.

The Maximizer module should always be placed last in the signal chain. (Each module can be dragged and dropped to change their order in the chain.) The Maximizer limits peaks and raises the average level of your mix, thereby increasing loudness. Comprehensive dither and noise-shaping options are also provided in this module. The Maximizer provides a separate, linkable input fader for left and right channels; multi-colored ladder meters and fader and level readouts accompany the faders. Threshold and Release sliders tailor the limiter’s action, while the Margin slider adjusts the master’s ceiling, or maximum peak level. Multi-colored ladder meters in the Threshold and Margin faders’ slots help guide your adjustments, and an Attenuation meter and associated readout display the amount of gain reduction applied to your master. The Maximizer module also lets you choose rectangular or triangular dither (or no dither) and any of three types of noise-shaping (or no noise-shaping). The dither amount (1 or 2 bits) and bit depth (8, 12, 16, 20 or 24 bits) are also each selected with one tap.

Master Section and Utilities
All the modules, with the exception of the Stereo Imager and Maximizer, can have their left, right, mid or side channel soloed or bypassed, and either mode’s two channels can be linked. Four high-resolution faders for left- and right-channel inputs and outputs are accompanied by multi-colored ladder meters, fader and level readouts, and clip indicators. The faders can be linked, maintaining any offsets you created beforehand. Global and module-based presets, transport controls, a waveform overview, Undo and Redo functions, and Import and Export facilities complete the mix.


      • Complete professional audio production system powered by Positive Grid’s high-end signal-processing algorithms


      • Linear-phase Pre and Post Equalizers, each offering eight bands and five filter types


      • Multiband Dynamics with four independent bands of compression/limiting


      • Stereo Imager adjusts the width and balance of your mix’s soundstage


      • Reverb provides state-of-the-art Room, Hall and Plate algorithms


      • Maximizer transparently limits peaks to make your mix louder


      • Dithering and Noise-Shaping preserves your mix’s depth and nuance


      • Stereo and mid-side processing


      • High-resolution, multi-colored metering with accurate readouts


      • Each module can be independently bypassed


      • Bypass switches for individual EQ bands


      • Left, right, mid and side channels can be independently soloed or bypassed


      • Waveform overview of your mix, with draggable playback cursor


      • 100 factory presets and unlimited user presets


      • Global and module-based presets


      • Drag and drop modules to rearrange their order in the signal path


      • Pristine, high-resolution sound (double-precision, 64-bit calculation)


      • Unmatched audio-data integrity: no rounding or truncation except when calculations are performed


      • Share via Email, Dropbox, iTunes, SoundCloud and FTP


      • Streamlined project management: browse multiple projects with one simple tap


      • Workflow optimized for mobile and desktop data transfers


      • Supports Inter-App Audio and Audiobus routing system (works with many other audio apps)


    • Supports iPad 2, iPad mini and newer iPad devices

Final Touch for iPad Requirements

    • iPad 2 and newer, including iPad mini