A CD and vinyl premastering application for macOS. Import your masters, sequence the record, set gaps, fades and metadata, and deliver a DDP 2.00 fileset for the plant and a hi-res premaster for the cutting room — from one project.
This is the last touch: the stage after the plugins have done their work, where a record is assembled rather than processed.
Four stages, one project file.
Drag in the masters, or import an existing DDP fileset, a CUE image or an audio CD. ISRC and titles are read from BWF, iXML and ID3 where they exist, from CD-Text and the disc's subcode where they don't, with a MusicBrainz lookup for the rest.
Set the running order, gaps, fades and crossfades on the timeline and hear every transition in context. Loudness per track and for the disc, LUFS, dBTP and LRA in the list, and a movable INDEX 01 when the pregap should be audible.
Export a client copy that opens in any browser, on a laptop or a phone, and plays the record exactly as sequenced. When another mix comes back, it goes in as a new version of that track — the timeline stays as it was.
A DDP 2.00 fileset with MD5 and a reference cue for a check burn, a PQ sheet, a mastering report, and the vinyl sides as a hi-res premaster with their cue sheet. Batch delivery writes the lot into one folder in a single render.
The plant gets a fileset it can cut from. The client gets something they can open.
DDPID, DDPMS, PQDESCR, CDTEXT.BIN, IMAGE.DAT and checksum.md5, plus a reference cue so the fileset can be burned and checked before it ships. Verify DDP re-reads the folder afterwards: MD5, stream lengths against the actual file sizes, and the CRC of every CD-Text pack.
One file that opens in any browser — laptop, tablet, phone — playing the disc as sequenced: order, gaps, fades, transitions. The vinyl version arrives as a side at a time, on a turntable that plays the way the record will. Nothing to install and no format they have never seen.
A record is never quite as finished as everyone thinks. The mixes are signed off and the master is approved — and then, at authoring, the last real decisions still get made: which version of track four, how the gaps sit, what the trip down to 44.1 does to the top end.
That is the last touch, and the name says what it's for. It is also the moment most tools treat as a formality — a dialog box and a progress bar at exactly the point where a decision still matters. Finito is built for it: the CD and the vinyl in one project, versions you can hear against each other instead of guessing at, and conversion you can change and audition before committing to it.
It is written and supported by one person — a producer and drummer of 30+ years, building the tool he wanted on the desk. That is also why it is a one-time price with no dongle and no subscription: there is no funding round in it that needs paying back.
— Martin Migash, migashaudio
Both formats, every version, and conversion you can actually hear.
Author a Red Book CD and cut a vinyl premaster from the same session, switching between them with a keystroke. Vinyl mode keeps its own edits, sides and segues, so working on one format never disturbs the other — up to eight sides for a double LP.
The vinyl premaster renders at the source rate by default — 96, 192 kHz, whatever came in — so the cutting room gets the resolution it was given. Drop the rate only when you mean to, and pick the engine that does it.
When another mix lands, you don't rebuild the timeline. Hold every version of a track under one fixed marker — Vocal +1 dB, Less Bass, Final — and A/B them live. Each format can even keep a different take, the vinyl playing one while the CD keeps another.
Change the sample-rate conversion per track and hear the difference straight away — five engines, from AcuRate SRC with a −127 dB stopband to bit-exact SoX VHQ, r8brain and SSRC. The character of the conversion is something you choose by ear, not a setting buried in an export dialog.
Playback uses the same conversion and dither code that writes the master, not a cut-down draft to save CPU. It is what makes comparing versions and engines mean anything: the difference you hear is the difference that ships.
A complete DDP 2.00 fileset — image, PQ descriptor, CD-Text, MD5 and a reference cue for a check burn — plus ISRC and MCN, per-track dither, sector-clean gaps, and an EBU R128 report so you know the loudness before it ships.
The approval copy is a player, not a file the client has to work out. Send it and it opens in any browser — laptop, tablet, phone — playing the disc exactly as sequenced: track order, gaps, fades, transitions, the whole running order. Nothing to download, nothing to install, and no "it won't open on my machine" two days before the deadline.
Established DDP tools do the job well. These are the five points where Finito takes a different approach.
| Parameter | How it is usually done | Finito |
|---|---|---|
| CD and vinyl | Separate tools, or a manual export per format. | Both from one project, switched with a keystroke. |
| Choosing a version | Swap the file on disk and rebuild what moved. | Versions under one fixed marker, A/B'd live — per format. |
| Sample-rate conversion | One fixed algorithm, applied at export. | 5 engines swapped on the fly; −127 dB stopband. |
| What preview plays | A lighter draft algorithm, to keep playback cheap. | The final math — the difference you hear is the one that ships. |
| Licensing | Typically four figures, often dongle-locked. | €149 once, two machines, no dongle, no subscription. |
Download and run. The demo is the whole application, not a cut-down build: import a disc, assemble it, edit and audition every transition, for as long as you like. Saving the project and writing any export stay locked until you activate. Nothing is watermarked and no audio is altered.
The build is signed but not notarized by Apple, so on first launch right-click the app and choose Open — or, on macOS 15 and later, allow it in System Settings → Privacy & Security. The checksum below is there so you can confirm the file you downloaded is the file I published.
Yes. A DDP 2.00 fileset imports back into an editable project — audio, PQ, CD-Text, ISRC and flags. The export/import round trip is covered by automated tests and comes back bit-exact. CUE images and audio CDs import the same way.
Saving the project, and writing any export — DDP, vinyl premaster, WAV, CUE, PQ sheet, client preview. Everything else is the full application with no time limit: import, assemble, edit, measure and listen for as long as you want. No watermark is added to anything, because nothing can be written in the first place.
A license covers two machines, and it is not a trap: when a Mac is replaced, retired or dies, email me and I free the seat. There is no re-purchase and no waiting on a licensing server, because there is no licensing server — the app never goes online to check anything, it verifies the license file offline.
Not within the current major version. Every 1.x release is free — download the latest DMG and it runs with the license you already have, with nothing to re-activate. A future major version would be a paid upgrade.
Notarization requires an Apple Developer Program membership, and that cost would sit in the price of a tool sold in small numbers. The app is code-signed, and the SHA-256 of every DMG is published next to the download so you can verify that what you have is what I put there. First launch takes one right-click → Open.
One WAV per side, rendered at the source rate by default and 24-bit with no dither, plus a cue sheet listing the side, its target time, the matrix number, track times and gaps, with segues marked where a side runs without silence between tracks. Up to eight sides, so a double LP is one project.
Validate Project catches what would break the fileset before you export. After export, Verify DDP re-reads the folder from disk: MD5 against the image, DDPMS stream lengths against the real file sizes, and the CRC of every CD-Text pack. A reference cue is written alongside so you can burn a check disc from the same image.
macOS 12 and later, Intel and Apple Silicon, from one universal 8 MB build. It is native Swift — no runtime, no installer, no background service. Drag it to Applications and it is installed.
I do — the same person who wrote it. Write to support@migashaudio.com or post in the community forum. Bug reports from working sessions are the reason several of the features above exist.
Enter the email from your purchase and the Machine ID from the app. I'll email your license to that address — then paste it into the app (Finito → Register Finito…).
Your Machine ID is already filled in below. Buy from here and your license is issued and emailed automatically — nothing else to fill in.
Buy Finito — €149The app never connects to the internet to activate — you enter the Machine ID here, and it verifies the license offline.