One Insert. Filthy to Pristine. Build the Monster or Build the Hit - the Same Chain Does Both.
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Push the Grind into AMP or BROKEN and a guitar track turns aggressive and saturated - thick, mean, and worked. Back off to TAPE with the compressor soft-kneed and a vocal sounds warm and expensive. The Schtack doubler builds the wall. The Schlapp slapback puts the source in a physical space. The reverb ducks itself out of the way when the signal is present and blooms into the gap when it isn't. The final limiter holds whatever ceiling you set.
That is the same chain. Same insert. The difference is where the knobs are sitting. Monster Factory is set up so that turning things up adds character and turning them back removes it - the stages do not fight each other. Drop it on a metal vocal, a pop hook, a hip hop 808, a screaming guitar - dial it to where it sounds right and move on.
Drop it on a vocal. Any vocal.
Gate closed, Grind at TUBE, Schtack at noon.
Then decide how far you want to push it.
No account required - we send the link to your email. Silences briefly every 30 seconds in demo mode.
The Front End
A screamed vocal has bleed and room. A close-mic'd pop vocal has breath and proximity. A distorted guitar has low-end rumble that has no business reaching the compressor. The gate closes in the silences using an amount knob - no threshold to find, just dial in how aggressively it closes between transients. The HPF cuts from 40 to 400 Hz before anything else sees the signal, which means the compressor is responding to the material you care about instead of pumping on a low-end thump. By the time the signal reaches the Grind and the doubler, it has already been controlled. Everything downstream works better for it.
The Character Engine
Grind runs in parallel - the dry signal never gets touched, you're blending character in on top of it. TAPE is the polished end: even-harmonic warmth that makes clean material sound like it was recorded through something with actual weight. TUBE adds the asymmetric odd-harmonic edge that turns a thin vocal into something that has presence without getting harsh - the mode engineers reach for when a track needs to cut without needing to be loud. AMP opens up under drive and gets aggressive: heavy guitars, distorted bass, hip hop 808s that need attitude, anything that should sound like it means it. BROKEN is what happens when you push past that. Complex harmonics, deliberate grit, the sound of something worked hard enough that it started giving back in ways it wasn't designed to. The Grind Tone knob tilts the saturation path dark or bright before it hits the blend.
Thickness + Space
The Schtack doubler thickens the signal. Humanize randomizes the timing and pitch on the doubled path so it sounds like a second performance instead of a copy - the difference between a vocal that sounds stacked and one that sounds like someone actually sang it twice. Turn Widen up and the doubled signal spreads across the stereo field. Increase Schtack on a metal vocal and it starts filling in the space around the center. On a clean pop hook it turns one voice into something that sounds like a section. The Schlapp slapback delay follows at 60 to 180ms - designed to add the physical sense of a room, not echo. A dry vocal with Schlapp turned up sounds like it was recorded in a real space. A guitar track already pushed through AMP Grind sounds like an amp in an actual room rather than a plug-in doing its best impression of one.
Depth + Final Ceiling
The reverb runs Small, Medium, or Large - broad categories that let you pick the physical sense of the space and then dial Amount to decide how much of that space actually shows up in the sound. Duck pulls the reverb level down when the source is hot and lets it come back up in the gaps. What this means practically: a screamed vocal can have a room behind it without the reverb washing over the attack. A clean pop vocal can have genuine air around it without sounding like it was recorded in a cathedral. The reverb adds context; it doesn't compete for space. At the end of the chain, a final output level trim and a brickwall limiter with a ceiling from -0.3 to -1.0 dBFS close it out. Set the ceiling to where it needs to be and leave it. The chain from front to back does the rest.
Selected Work
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VST3 (64-bit) - Windows, macOS, Linux
AU (64-bit) - macOS only
Windows 10 / 11
macOS 11 Big Sur or later (Apple Silicon + Intel)
Linux - Ubuntu 22.04+ or equivalent
Any VST3-compatible host: Reaper, Cubase, Studio One, Ableton Live, FL Studio, Bitwig Studio, Nuendo, and more
AU (macOS): Logic Pro, GarageBand, MainStage
Perpetual, single user
3 simultaneous activations
Need to move a license? Email us
SHA-256 (mmedia-monster-factory-v1.0.0.zip): c61de7bae2f62ea0ce8aebcdfc5907b133ef45fdb59d3931e419be9259a5abb5
Perpetual license - pay once, own it forever.
By purchasing you agree to our EULA and Privacy Policy.
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