VST3 and AU processors for Windows, macOS, and especially Linux.
Perpetual licenses, direct from the studio. Six are completely free.
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"Thick, huge and closest to the hardware units than any I've heard."
- Philippe W., Producer / Engineer · Paris, FranceThe curve everyone's been chasing.
Boost and cut the same low frequency at once and it doesn't cancel out - the two controls interact instead of nulling, the classic "big and tight" trick, built in rather than simulated. High Boost and High Atten run as two fully independent sections, with an eleven-position switch that goes peaking or shelving. Four VU meters, a tube output stage, twenty factory presets.
"Three heads, a spring that actually boings, and it's free. I keep forgetting to check the price tag because there isn't one."
- M Media AudioThat sounds good. Do it again.
A free multi-head tape echo with an independent spring reverb running alongside it, not stacked on top. Three selectable tape heads combine into seven head patterns, the feedback path carries real tape wobble and warmth that compounds with every repeat, and Fresh/Worn decides how far that character goes. Push Intensity past 100% and the feedback path genuinely self-oscillates.
"Add a little butter, and some honey, to your mix. Rich tube warmth. Smooth, flowing compression.
A Little Honey for Your Audio.
Rich tube character, smooth vari-mu compression and satisfying weight for tracks, buses and full mixes. Six timing settings, Left/Right and Mid/Side processing, Link, per-channel Mix and Output, Auto-Level and twenty factory presets.
"Dense, beautiful tails that sit behind the track perfectly. Ridiculously good for a free reverb."
- Claire W., Mix Engineer · Bristol, UKSuspended steel. Natural decay.
A free plate reverb built to behave like the real suspended-steel units it's styled after - fast, dense buildup, highs that genuinely arrive before the lows, and a tail whose tone evolves as it decays instead of just tilting dark. Tube and Solid State character stages carry their own real harmonic signatures, barely there at unity, genuinely driven when you push Input.
"A great plugin that offers all the necessary tools for custom mastering... lightweight and its GUI is very pleasant, simple, and intuitive."
- Rastaman81, KVR reviewBig sound. One window.
Northstar puts the sound of the entire record under your hands. Shape the tone, control dynamics, add color, set the stereo image and bring the level home, seeing and hearing how each decision affects the mix. Nine processing sections follow the signal from input to output, with an EQ display, reference player and loudness meters alongside the controls.
"Different compressor characters on the center and sides? There went my afternoon. Fantastic control."
- Nathan R., Mix Engineer · Nashville, TNEvery channel gets its day in court.
Four complete compressors running at the same time, Channel 1, Channel 2, Mid and Side, with no modes to switch between. Choose FET, Opto, Vari-Mu or VCA for each row, set how hard each one is hit with its own Input, then rebalance with Makeup, Mix and Output. Auto-Level keeps the loudness matched, and a gain-reduction meter on every row shows exactly what each compressor is doing.
"Being able to EQ left, right, mid and side together is hard to give up once you've tried it."
- Adrian K., Mastering Engineer · Berlin, GermanyEvery channel is under investigation.
A mastering EQ with four complete EQ rows running at the same time - Channel 1, Channel 2, Mid and Side - each with a low cut, four parametric bands and a high cut. Shape left, right, center and sides in one pass, with a Link switch, a Saturation knob you can leave off, Oversampling up to 8x, Delta, Gain Sync, dual VU meters and ten factory presets.
"I can give the center some weight and rough up the sides separately. That's seriously useful."
- Sofia M., Producer · Barcelona, SpainFour saturators. One pass.
Saturation usually goes on the whole mix as a single knob. Dirtywork doesn't. Channel 1 and Channel 2 work on the left and right, then the signal splits into mid and side so the Mid and Side rows work on the center and on the difference between the channels. Every row is a complete saturator with its own Type, Input, Drive, Low Cut, Tone, Mix and Output.
"One held note, instant attitude. The stereo wobble is where things get really fun."
- Tyler B., Music Producer · Denver, COHold to wobble.
A wobble filter locked to your project. Hold Engage and a low frequency oscillator opens and closes a resonant filter in time with the host, so one held bass note becomes a wub, a half-time growl or a talking bass. Spread sends the right channel's wobble behind the left, and two meters show where each side's cutoff is.
"Great for those little fills that make a loop feel alive. Chaos earns its name."
- Luca F., Producer · Milan, ItalyHold to repeat.
Hold Engage and the last slice of your audio repeats on the beat. Pick Stutter, Reverse, Gate or Crush, set the slice length from a 1/4 note to a 1/32, and turn Chaos up when you want it to play itself.
"The stereo stop sounds excellent, and landing back on the beat saves so much fiddling."
- Andre J., DJ / Producer · Atlanta, GAHold to stop.
A tape stop and vinyl brake that works in stereo. Hold Engage and the pitch falls to a stop, let go and it spins back up. Spread makes the left and right channels stop at different moments, and Land On brings the music back exactly on a grid line.
"Slowing a phrase down can completely change its mood. This makes it dangerously easy."
- Maya S., Hip-Hop Producer · Toronto, CanadaHold to slow.
Hold Engage and the music slows to half speed, or a third, a quarter or three quarters, with the pitch following like a deck. Let go and it speeds back up, landing on the next beat, half note or bar if you ask it to.
"Proper crunchy nastiness. Blending a little underneath clean drums gives them so much character."
- Felix H., Electronic Musician · Hamburg, GermanyHold to crush.
A bit and sample rate crusher you play. Hold Engage and the signal is crushed to the Bits and Rate you set, shown on big digital readouts, let go and it's clean again. Dither, a Tone low-pass, Mix and Output finish the job.
We've identified some unnecessary movement downstairs.
A dynamic subsonic limiter that watches energy at the very bottom of the signal and steps in only when it gets out of line - not a blunt high-pass filter that thins every kick and bass note whether it needs it or not. A separate static HPF (5-60Hz, Off available, 6/12/24dB/oct) handles persistent rumble and cutting prep, and independent DC removal clears offset before either stage touches the signal.
Lay it down. Level it out.
Five record equalization curves in one utility - RIAA, Columbia LP, NAB, AES, and Decca/FFRR 1951. Encode and Decode are true mathematical inverses of the same curve network, Amount scales the curve itself rather than blending dry and wet, and a live EQ Visualization panel draws the response with real PRE/POST spectrum underneath so you can watch your own material reshape.
A little off the top.
A peak clipper for real loudness gain without the squash a limiter gives you once you push it too far - it shaves only the samples that actually cross the ceiling, instantly, and leaves everything below that line completely untouched. Hard or Soft clip character, a parallel Mix blend, real anti-aliasing Oversampling, and a live two-color clip scope that shows exactly what's getting trimmed.
Finally, somebody in management does some actual work.
A high-frequency acceleration limiter built on a vinyl-mastering trick: isolate the highs, catch the peaks, blend the correction back in. A phase-coherent crossover splits off everything above the Crossover frequency, a fast peak limiter works that band alone, and Mix blends it back as a parallel signal. Harsh cymbals, sibilance, and brittle transients get handled - the rest of the mix never knows anything happened.
"Put it on a bass track and immediately liked the extra body. This being free is absurd."
- Owen C., Bassist / Home Recordist · Leeds, UKA little grease goes a long way.
A free dual-channel Class A tube preamp with Input, Output, Bass, and Treble on each side, all adjustable from −12 to +12 dB. Underneath it sits an always-on coloring stage with no dedicated knob, quietly rounding the edges of whatever passes through. Link hard-locks both channels together, Auto-Level keeps loudness honest as you drive it, and twenty factory presets - considerably more than most paid preamps bother with - are ready to load.
"The tone switches make you commit quickly. Love the bite it gives a drum bus."
- Daniel V., Recording Engineer · Detroit, MIA broadcast preamp with strong opinions and no indoor voice.
One job, done with considerable attitude. Fixed, hardware-style Mid and Low switches deliver eight authentic tonal combinations - no sweepable EQ, no menus, no forty minutes achieving nothing. Warmth comes standard, living in the signal path the moment you flip it on. Auto-Level holds listening volume steady as you push the Input Level, so you hear what the circuit is doing instead of just hearing louder.
"Thick, gritty, and very easy to push too far in the best possible way."
- Pavel N., Producer / Guitarist · Prague, CzechiaSoviet-flavored tube muscle with questionable manners.
Five continuous knobs per channel - Input, Bass, Midrange, Treble, and Output - built for weight, not subtlety. Push the Input and the whole signal path leans into it: more body, more grit, more front. Two large VU meters, switchable between Input and Output, watch every decision you make. Link, Auto-Level, and Dual-Stereo controls cover every session from a single channel to a fully independent stereo pair.
"Lovely subtle tape character at sensible levels. Push it harder and it gets interesting fast."
- Elise B., Engineer · Montreal, CanadaPrecision by default, driven on request.
Reference Two begins with a clean, calibrated tape path and gives you complete control over how far you take it. Each channel offers an Input, Sync and Reproduce monitor selector, three genuine points in the tape signal path, while a shared Uncalibrate switch keeps Record and Reproduce locked to reference until you decide otherwise.
"The separate record and reproduce controls make finding the sweet spot feel really natural."
- Graham S., Engineer · Edinburgh, UKA killer dual-channel tape machine, no nervous breakdown required.
Master 30 gives every channel its own Record and Reproduce stage, each with a separate Manual/Preset switch. Leave a stage on Preset and it stays locked to its calibrated reference. Switch it to Manual and the knob comes alive, so you decide exactly which stage gets to move.
"The little bit of movement makes programmed drums feel less rigid. Lovely texture."
- Ben A., Drummer / Producer · Minneapolis, MNBuilt like a tank. Analog character preserved.
Studio 15 runs two independent tape channels, each with its own REC, REP, BIAS, HF Trim and IEC/NAB curve, driven by a shared transport. Output Select switches the whole machine between Input, Sync and Repro monitoring, while real modulated-delay wow and flutter keeps the movement alive instead of sounding like an EQ curve wearing nostalgia.
"Just a touch across the mix and everything feels more connected. Still plenty of room to breathe."
- Julian E., Mix Engineer · Los Angeles, CAMake the mix finished.
West Coaster is a dual-channel opto bus compressor built to make a mix feel richer, wider and unmistakably finished without squeezing the life out of it. Its slow, program-dependent detector moves with the music instead of imposing itself on top of it, and a restrained saturation stage adds polish rather than drive.
"Snappy and straightforward. Got the drum bus punching in about thirty seconds."
- Travis M., Recording Engineer · Fort Worth, TXHowdy does not mosey.
Howdy Compressor is a genuinely fast, punchy VCA-style bus compressor with a hard knee and a single envelope follower for classic glue character. Attack reaches 2 ms, Left and Right can run together or fully independently, and the whole panel reacts to real signal moving through it.
"The compression and EQ work beautifully together. Easy to get warmth without losing definition."
- Hannah R., Producer / Engineer · Ottawa, CanadaGlue that breathes.
Lake Ontario pairs vari-mu compression with a musical 4-band EQ on every channel, Low and High shelves plus Low-Mid and High-Mid bells. An always-on micro-saturation stage keeps things warm even with Saturation at zero, and a reorderable signal path lets the EQ work before or after the compressor.
"Everything I reach for on a kick, right there. The attack and sub controls are particularly good."
- Chris D., Metal Producer · Pittsburgh, PAFix the source.
Leadfoot is a complete kick drum processing channel strip built around one source instead of merely sporting a kick-sounding name. Gate and a focused EQ clean the signal first, a two-knob transient shaper handles attack and sustain, and the compressor, saturation and sub generator take it the rest of the way.
"Two knobs and the vocal settles into place. Sometimes that's all you need."
- Nina K., Vocal Producer · Stockholm, SwedenKiller opto glow.
Dualtronix is a dual-channel opto leveling amplifier built around the simple control set that has made this style of hardware sound great for decades: Gain and Peak Reduction, nothing to overthink. Each channel runs its own Power switch and meter, so you can run matched glue or two completely different characters side by side.
"Adds that little bit of weight that makes a thin track feel substantial. Easy to like."
- Aaron L., Songwriter / Producer · Asheville, NCStraight off bypass, it's already working.
A dual-channel Class A tape-preamp-style preamp that sounds better than bypass the moment you turn it on - fixed low-mid weight and retuned tube saturation do that work before you touch a single knob. Input, Bass, Treble, and Output per channel, plus a Character EQ knob (Warm, Flat, Air) that recolors the whole plugin at once.
"The gain matching makes dialing in compression much easier. Smooth on vocals, too."
- Beth C., Recording Engineer · Glasgow, UKHear the compression, not the volume.
An opto-style leveling amplifier with a real trick built in: an Auto Gain Match switch that continuously trims the output to hold your level steady as you turn Peak Reduction, so you're hearing the character of the compression, not just more volume. Gain, Peak Reduction, a sidechain high-pass, and a Compress/Limit switch are the whole signal path - simple, smooth, and honest about what it's actually doing.
"Great body and movement on bass. The parallel blend lets me keep the original attack."
- Rafael P., Producer / Bassist · São Paulo, BrazilA mic pre, a compressor, and an EQ. One insert.
Dual-channel tube mic pre and compressor with a beefy Vari-Mu gain stage and a built-in 2-band EQ. The Input knob drives a tube stage automatically, the Vari-Mu compressor breathes with the material instead of just controlling peaks, and Mix blends it all back against the dry signal for New York-style parallel compression.
"My music collection, useful EQ, and proper meters in one player. Finally, something made for my ears."
- Peter A., Music Enthusiast · San Diego, CAIt just sounds better.
A mastering-grade desktop audio player, not a plugin, but built by the same engineers with the same ears. Your media files, CDs, and a line input all in one player, running through a mastering-grade 31-band EQ and a VCA compressor/limiter to get more out of the speakers and headphones you already own. Five themes, limitless colors.
"Turns out I missed grabbing graphic EQ faders. The tube drive is a very nice bonus."
- Victor H., Mix Engineer · Rotterdam, NetherlandsA real graphic EQ, not a parametric wearing a costume.
A tube-driven stereo 31-band 1/3-octave graphic equalizer - real ISO center frequencies, one fader per band, ±24 dB of range. Drive comes from the INPUT knob the way it works on real tube gear; push it hard and the saturation kicks in on its own, no separate drive knob to ride. A vari-mu-style compression stage runs underneath at a fixed character. Then there's COLOR: a knob that does nothing to the sound and everything to the feel, recoloring the fader highlights and LED meters live.
"A little parallel compression makes the whole mix feel fuller. This one has real charm."
- Jamal W., Producer / Mix Engineer · Brooklyn, NYThe gluiest mix glue you've ever heard.
Dual-channel Vari-Mu bus compressor built to weld a mix together, not just turn it down. Stereo, Dual, and Mid-Side modes cover everything from linked bus glue to independent per-channel control to serious stereo-field shaping. An always-on micro-saturation stage adds harmonic weight to everything that passes through. Eight factory presets, A/B instant recall, full save/import/export. Two VU meters switch between gain reduction and output level.
"Really like it on voice. Adds some chest and presence without needing a complicated chain."
- Laura F., Producer · Seattle, WAFlip it on. It already sounds better.
Dual-channel American tube preamp. Two independent channels - each with Input, Bass, Treble, and Output. Drive the Input and the character builds: grit on the drums, teeth in the low end, presence in the mids. Three channel modes cover every routing scenario. Ten factory presets load ready. Two analog VU meters watch the output. At $19 it belongs on everything that needs to feel less digital.
"A little tape weight across a few tracks adds up beautifully. An excellent freebie."
- Ethan J., Home Studio Musician · Madison, WITwo channels of real iron on every insert.
Dual-channel tape machine strip with independent controls per channel. REC drives the nonlinear saturation and natural RMS compression. REP brings it out the other side. Three signal path modes, IEC or NAB playback EQ, bias trim, tape speed shelving, HF rolloff, and calibrated VU meters. The glue tracks get from real iron - free.
"Got an aggressive vocal sitting in the track without opening half my plugin folder."
- Alex G., Alternative Rock Producer · Philadelphia, PAGate to limiter in one insert.
A complete signal chain in a single plugin: noise gate, high-pass filter, compressor, tone EQ with de-esser, four-mode parallel saturation, stereo doubler, slapback delay, reverb with sidechain ducking, output gain, and a brickwall limiter with adjustable ceiling. Every stage designed to work with the ones around it. Drop it on a track and dial in as much of each stage as the track needs.
"The movement has a sense of depth that ordinary panning doesn't. Brilliant on headphones."
- Freya T., Sound Designer · Copenhagen, DenmarkReal depth, not just left-right.
A circular autopanner that uses three simultaneous psychoacoustic techniques: equal-power panning, inter-aural time difference (up to 650µs Haas delay on the far ear), and a front-back EQ axis that rolls off from 18kHz at the front to 4kHz at the rear. All three follow the same LFO position so the brain hears a coherent circular motion. Rate runs free or locks to seven tempo subdivisions. Width extends to 200%.
"Precise enough for small mastering moves, with enough character to make them feel musical."
- Thomas B., Mastering Engineer · Vienna, AustriaTwelve bands, three channel modes, hardware weight, and a full set of professional monitoring tools.
A dual-channel mix and mastering parametric EQ with six fully parametric bands per channel, three operating modes (Link, Dual L/R, M/S), always-on level-dependent harmonic saturation, oversampling up to 8x, and Delta, Gain Sync, and Mono monitoring built in. Two large VU meters with switchable source. Everything needed for a complete mix or mastering session on one plugin.
"Compression, EQ, de-essing and a little width - my vocal chain became a lot simpler."
- Olivia N., Singer / Producer · Brighton, UKOne plugin. Every stage of a vocal.
A complete vocal processing chain in one insert: opto compressor, six-band parametric EQ, dual de-esser, and stereo doubler. Each stage operates independently and bypasses cleanly. Run the full chain or use any section on its own. No oversampling, no added latency - works at the same settings in the studio and live in-the-box.
"Gets drums right up front. The parallel mix lets me keep the punch and add the aggression."
- Derek S., Drum Recording Engineer · Cincinnati, OHFast, punchy, and forward.
A dual-channel FET compressor built on the classic JFET gain-reduction topology - the same circuit character behind some of the most recognizable compression sounds in recorded music. Two fully independent channel strips with complete per-channel control. Link them for stereo, run independently for dual mono, or flip to M/S mode for bus and mastering work.
"Changing the compressor order makes a bigger difference than I expected. Lots of useful flavors here."
- Sebastian R., Mix Engineer · Munich, GermanyThree compressors. One chain. Your call on the order.
Three compressor stages in series - FET, VCA, and Vari-Mu - each with its own parallel blend knob. Stack all three for a full-character bus treatment. Use one. Use two. Bypass what you don't need. An Order switch puts any character first in the chain and changes how the downstream stages respond. A six-band parametric EQ and saturation stage complete the chain.
"Blending in the crushed signal gives drums weight without flattening the groove. Love the tube edge."
- Miles P., Producer / Drummer · New Orleans, LAParallel compression with a tube heart.
A parallel RMS compressor with even-order harmonic saturation baked directly into the input stage. Drive the input and the tubes light up. Back off and it cleans up. Fixed 4:1 ratio keeps the compression musical without requiring you to think about it. The Mix knob blends the compressed signal against the dry for natural-sounding parallel results at any setting.
"Clear loudness metering and a straightforward way to hit my target. A very useful free tool."
- Emma D., Musician · Wellington, New ZealandMeasure. Target. Deliver.
True-peak lookahead limiter with a full BS.1770 LUFS metering suite. Play your track once, set a target loudness, click Set Level - the corrective gain is applied in one step. The brickwall ceiling holds from there. High Quality mode adds 2x oversampling to catch inter-sample peaks before they clip on playback.
"The separate boost and cut controls are surprisingly addictive. Lovely tone shaping for zero dollars."
- Caleb W., Songwriter / Home Recordist · Tucson, AZSix filters. A bus compressor. Zero dollars.
A stereo channel strip built around the EQ and compression character that defined the sound of major-label bus processing. Three independent EQ bands - each with separate boost and cut controls - feed a custom RMS compressor with program-sensitive auto-release. No demo mode. No time limit. No license key.
"Helps bright mixes stay open without getting tiring. Especially nice on busy cymbals."
- Isabel L., Mix Engineer · Lisbon, PortugalAir and presence, without the edge.
Monitors six high-frequency bands relative to the overall signal and corrects when presence or air pulls too far forward. Harshness removed before it sets in. The high end extends naturally without fatiguing, regardless of the source.
"Gets the low end under control while keeping it big. Much easier to judge the bass balance."
- Noah F., Electronic Producer · Vancouver, CanadaKeep your low end honest.
Monitors five low-frequency bands relative to the overall signal level and automatically corrects when any band dominates the mix. Not a limiter. A spectral balance check that keeps the sub, kick, and bass in proportion regardless of how loud you push it.
"The era settings are great starting points. A small blend adds a lot of personality."
- Leo M., Producer / Composer · Paris, FranceShape your sound across the eras.
Six decades of mastering character in a single processor. Pick the era, set the blend, and dial in the tone. Each setting applies the EQ curve, compression behavior, and harmonic profile of that era's best rooms.
Each tool comes from a specific problem heard in the studio. When the next one is ready, it ships. Get in touch if you have a request.
M Media Audio has been in pro audio since 1994. These plugins came out of a real mastering chain - problems heard in actual sessions, solved the right way. Not bedroom hobbyist tools. Not "inspired by" hardware. Real problems, fixed cleanly, shipped as VST3.
Built in Austin by engineers who still sit in the chair. Every tool comes from a problem heard in a real session.
Pay once. Yours forever. No subscription, no renewal, no cloud dependency.
Studio, laptop, and backup machine.
Encrypted activation over HTTPS. No telemetry. Nothing phoning home during your session.
You email us, a human answers. No ticket queue. No knowledge base maze.
VST3, 64-bit on Windows 10/11, macOS 11 Big Sur or later, and Linux. AU format also available on macOS for Logic Pro, GarageBand, and MainStage. Works in any VST3-compatible host.
Never. One purchase, permanent license. No renewals, no monthly fees, no cloud dependency.
Enter your license key in the plugin after purchase. Activates over HTTPS in seconds.
Three simultaneous activations per license. Studio desktop, laptop, backup. Need to move a license? Email us.
30 days, no questions asked. Email us and we handle it the same day.
Audio demos are on each product page. All paid plugins run in demo mode before purchase - fully functional with a brief silence every 30 seconds.
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A mastering chain works best when you can hear how each decision changes the next. EQ affects compression. Compression affects saturation.
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Record equalization is part of how a disc stores and reproduces music. During cutting, a defined frequency curve reduces bass relative to treble.
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Useful sub-bass gives a record scale. Unnecessary energy below it can use headroom, influence dynamics and make playback systems work harder without making the...
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