A dynamic saturator that listens first. It identifies the source, maps where it sits against a reference for that source, then heats only the parts that need it.
Change this if the detection is wrong. It picks the reference curve, the starting character and which bands Kiln is allowed to push hardest.
Red dots are resonances. Where your line sits under the dashed one, that region is thin for this source. Where it sits above, it is heavy.
Each column is one frequency band. The glow shows how hard that band is driven. Kiln sets these from the analysis. The controls below scale and shape them, and you hear every change live.
Tap a column to switch saturation off or on for that band only. Every stage below also has its own switch. The chain runs in this order: resonance dip, band split, saturation, noise guard, response, band makeup, pull toward reference, resonance restore, mix, loudness match. Original in the player bar bypasses all of it.
Load a finished song to play alongside your track. It is never processed. Kiln levels it against your track so you can hear whether your changes help the track sit in a mix like that one.
Use the Reference buttons in the player bar. With plays both together. Solo plays only the reference, so you can flip between it and your track.
Auto align finds where your track sits inside the reference and sets both controls for you. It only works when the reference contains your track, such as a mix exported from the same session.
Rendering processes the whole track with the current settings, using the same engine you are hearing, then measures the result.
Settings changed since the last render. Render again before saving.
24-bit keeps full detail for further mixing. 16-bit is for final delivery and adds a tiny noise (dither) to avoid distortion on quiet fades.
On iPhone, Save to Files opens the share sheet. Choose Save to Files there.
Original and Kiln switch instantly at matched loudness. Loop repeats the track so you can keep adjusting.