Documentation

Windows

M Media Audio plugins are distributed as VST3 bundles. No installer is required.

1. Download the plugin zip from your order confirmation email or from My Account › Downloads.
2. Extract the zip. You will find a .vst3 folder and a README.
3. Copy the entire .vst3 folder into your VST3 plugin directory. The standard Windows location is:
   C:\Program Files\Common Files\VST3\
4. Restart your DAW and run a plugin scan. The plugin will appear under M Media Audio.

Do not extract the contents of the .vst3 folder. The entire folder is the plugin bundle - move it as a unit.

Supported DAWs

Any VST3-compatible host on Windows. Tested in Reaper, Cubase, Studio One, Ableton Live, Bitwig, FL Studio, and Cakewalk. Logic Pro and GarageBand are not supported on Windows. macOS builds are in development.

Each license allows 3 simultaneous activations. Activation requires an internet connection. After activation the license is stored locally and the plugin runs fully offline.

1. Load the plugin in your DAW. The activation screen will appear automatically on first use.
2. Enter the email address used at purchase and your license key. Your license key is in the purchase confirmation email.
3. Click Activate. The plugin will contact the license server and confirm your license.
4. On success the plugin is fully unlocked. No further steps are needed.

Activation is per-machine. Installing on a second computer uses a second activation slot.

All M Media Audio plugins include a fully functional demo mode. Every control works at full quality. The only limitation is a 2-second silence dropout every 30 seconds of playback.

To try the plugin before purchasing, click Try It on the activation screen. The silence will resume each time the plugin is loaded until a valid license is activated.

If you have used all 3 activation slots and need to activate on a new machine, contact info@mmediaaudio.com with your license key and we will reset a slot. Include the name of the machine being replaced if possible.

Self-service deactivation is planned for a future update.

Era

Selects the active console era. Each era is a complete preset that sets baseline EQ, compression threshold and ratio, saturation amount, stereo width, and output gain compensation. All other knobs operate relative to the selected era.

Bottom / Middle / Top

Three EQ knobs operating in the frequency range set by the active era. Each knob adjusts gain relative to the era baseline - center position (0 dB) applies the era's native character without additional boost or cut. Range is -8 to +8 dB.

• Bottom - Low shelf centered at the era's bass frequency. Controls weight and fullness.
• Middle - Peak filter centered at the era's midrange frequency. Controls presence and body.
• Top - High shelf centered at the era's air frequency. Controls brightness and openness.

Comp

Adjusts the parallel compressor threshold relative to the era baseline. Range is -12 to +12 dB. Negative values increase compression depth; positive values back off. At center (0 dB) the compressor runs at the era's native threshold.

The compressor always runs in parallel - the Blend knob controls how much of the compressed signal is mixed back in. Comp sets how hard the compressor works; Blend sets how much you hear it.

Blend

Parallel compression wet/dry mix. At 0% only the dry signal passes. At 100% the full compressed signal is mixed at the era's compression ratio. Most program material responds well between 30-70%.

Saturation

Three-position switch controlling the era's tape/transformer saturation character.

• On - Full era saturation amount applied.
• Middle - Half saturation amount. Useful when stacking with other saturation sources.
• Off - Saturation bypassed entirely. EQ and compression still active.

Saturation amount varies significantly by era. The 1960s preset applies considerably more saturation than the Modern preset at the same switch position.

Limiter

Brick-wall output limiter ceiling. Range is -3 to 0 dBFS. The limiter sits at the end of the processing chain after output gain. At -1.5 dBFS (default) it provides transparent overload protection without audible limiting under normal operation. Lower settings produce harder catch behavior for loud material.

Output

Output gain trim, -6 to +6 dB. Applied after the limiter ceiling. Each era includes internal output compensation to normalize approximate loudness across eras - this knob provides additional fine-tuning for level-matched comparisons with bypass.

Bypass

Hard bypass. Clicking the power switch passes audio unprocessed. All metering stops. Useful for A/B comparison at matched levels - use Output to compensate for any loudness difference before bypassing.

VU Meters

Two VU meters showing input level (left) and output level (right). Both use 300ms ballistic RMS, matching the response of a standard VU meter. 0 VU corresponds to -18 dBFS RMS; full deflection is approximately -3 dBFS RMS.

Suggested Starting Points

• Match the era to the decade the album was recorded in, then adjust Bottom/Top to fit the release.
• Set Blend to 40-50%, then use Comp to taste. Listen to the kick drum and bass relationship.
• Use Output to null the loudness difference with bypass before making EQ decisions.
• For modern mixes going for a vintage feel, try 1970s with Saturation on Middle and Blend around 35%.

How It Works

The plugin measures the RMS energy of five analysis bands - sub, kick bass, bass, upper bass, and low-mid - and compares each against the full-band RMS level. If a band is louder relative to the mix than the Contour threshold allows, a peak filter applies gain reduction to that band. The correction is smoothed over 50ms to prevent pumping. All processing happens in parallel via the Mix knob.

It does not add frequencies. It only reduces bands that are over-represented. A band that is sitting correctly is left completely untouched.

Mix

Wet/dry blend between the uncorrected signal and the corrected signal. Range 0-100%. At 100% the full correction is applied. Lower values reduce the aggressiveness of any correction that occurs. Default is 100%.

If the correction feels heavy-handed on a particular track, reducing Mix to 60-70% often preserves the benefit while keeping more of the original character.

Contour

Sets how aggressively each band is allowed to sit relative to the full-band level before correction is applied. Three positions:

• Warm - Looser thresholds. Bands are allowed closer to full-band level before correction triggers. Retains more low-end weight and density. Best for music that benefits from a fuller bottom end.
• Neutral - Balanced thresholds. Recommended starting point for most material. Default.
• Open - Tighter thresholds. Correction triggers earlier, producing a leaner, more open low end. Useful for dense mixes or material where the low end is competing with other elements.

Pilot Light

The amber indicator on the plugin face illuminates whenever any band is receiving gain reduction greater than 0.5 dB. A light that is constantly on indicates continuous correction - this is normal and expected behavior. A light that never comes on means the low-end balance is already within the Contour thresholds for the current material.

Bypass

Hard bypass. Passes audio unprocessed. The pilot light and VU meters stop when bypassed.

VU Meters

Input (left) and output (right) level meters. 300ms ballistic RMS. On well-controlled material, input and output levels should read approximately the same - Speaker Breaker does not change overall loudness, only the internal low-end balance.

Suggested Use

Speaker Breaker is effective anywhere low-end balance is a concern - not only on the master chain.

• Individual tracks - Tame a bass guitar or kick drum that is inconsistent across sections.
• Drum bus - Keep sub and kick from overpowering the overhead and room mics as the arrangement builds.
• Bass bus - Control the sub-to-body ratio across a layered bass sound.
• 2-bus or master chain - Insert after EQ, before limiting. Start with Neutral and Mix at 100%. A/B with bypass and listen to the kick and bass relationship.
• If the result feels over-corrected on any source, try Warm before reducing Mix.
• Effective on material assembled from stems with inconsistent low-end levels, or music with heavy sub content that shifts across sections.

How It Works

Six analysis bands spanning the upper frequency range are measured and compared against the full-band RMS level. Any band that is too prominent relative to the mix receives dynamic gain reduction via a matching correction filter. All processing happens in parallel via the Mix knob.

As with Speaker Breaker: Velvet Crush does not add frequencies and does not affect bands that are already balanced. It only pulls back what is too forward.

Mix

Wet/dry blend between the uncorrected signal and the corrected signal. Range 0-100%. Default is 100%. Reduce Mix if the correction feels too aggressive on the material.

Character

Sets how tightly each high-frequency band is controlled relative to the full-band level. Three positions:

• Silk - Loosest thresholds. Bands are allowed to sit closer to full-band level. Retains more high-frequency energy and presence. Best for music that benefits from an airy, open top end.
• Velvet - Balanced thresholds. Recommended starting point. Default.
• Air - Tightest thresholds. More aggressive correction across all six bands. Produces the smoothest, most controlled high end. Useful for bright mixes, harsh digital recordings, or material with problem resonances in the upper range.

Pilot Light

Illuminates whenever any high-frequency band is receiving gain reduction. Behavior is the same as Speaker Breaker.

Bypass

Hard bypass. Passes audio unprocessed.

VU Meters

Input and output level meters with 300ms ballistic RMS. As with Speaker Breaker, overall loudness should be approximately unchanged - the meters confirm this.

Using Speaker Breaker and Velvet Crush Together

The two processors are designed as a complementary pair. All three plugins work on individual tracks, bus groups, the 2-bus, or the master chain - mix and match placements based on where the problem is. Running Speaker Breaker before Velvet Crush on the same bus addresses both ends of the spectrum independently. Alternate Timeline can sit before or after both, depending on whether you want the era character applied before or after the balance correction.

A common 2-bus or master chain: Alternate Timeline › Speaker Breaker › Velvet Crush › limiter.

On a drum bus: Speaker Breaker on Neutral to manage kick and sub, Velvet Crush on Silk to take the edge off overhead harshness without dulling the cymbals.