Year/Date of Release: 10.2026
Version: 26.10
Developer: M Media Audio
Developer Website: M Media Audio
Format: VST3
Bit Depth: 64-bit
Crack: Included
System Requirements: Win 10+
- 64.3 MB
Description: Creative tools from broadcast engineering professionals.
M Media Audio has been active in the professional audio industry since 1994. Our plug-ins are built upon real-world mixing and mastering workflows, combining proven techniques with practical solutions refined over decades of studio experience. Each plug-in is designed to efficiently resolve technical issues, inspire the creative process, and deliver reliable results—all provided in the VST3 format.
In Detail:
Warm Repeats
Sounds good. Let’s do it again.
A free multi-head tape echo effect featuring an independent spring reverb that runs in parallel rather than being layered on top. Three selectable tape heads can be combined into seven different patterns; the feedback loop captures the authentic wobble and warmth of magnetic tape—qualities that intensify with every repeat—while the “Fresh/Worn” setting lets you dial in the character you want. Push the Intensity beyond 100%, and the feedback will begin to self-oscillate.
Head Patterns – 7 combinations: short, medium, and long
Intensity – 0–115%; self-oscillation occurs above 100%
Tape Age – “Fresh” or “Worn” (two distinct sonic profiles)
Spring Reverb – An independent engine with its own dedicated level control
22 Factory Presets – Covering echo, dub, drone, doubling, and more
Thunderbuss Mix
A complete processing chain—not just a one-trick pony.
Most free bus processors offer only a single trick. Thunderbuss Mix provides an entire chain: a variable-gain compressor tuned for “glue,” a tube-style saturation stage, and a look-ahead limiter that effectively holds the ceiling—all distilled into just five controls. A sidechain high-pass filter prevents the kick drum and bass from causing the rest of the mix to “pump,” while the limiter’s dual-speed release ensures that fast transients recover to the level of the overall mix, rather than dropping all the way to zero after every peak. The first of five free Thunderbuss bus processors.
Variable-gain compressor — single-knob control, automatic gain compensation, and a sidechain high-pass filter.
Look-ahead limiter — fixed ceiling at -0.3 dBFS, with no “pumping” artifacts.
Peak-reading VU meter — 0 represents the ceiling; it is physically impossible to exceed this level.
10 factory presets — for mixing, mastering, podcasting, and more.
The first of five — one free Thunderbuss bus processor released each week.
Room Service
Suspended steel. Natural decay.
A plate-style reverb designed to emulate the behavior of the actual suspended steel units upon which it is based: a fast, dense onset; high frequencies that emerge before the low frequencies; and a decay tail that evolves in tonal character as it fades, rather than simply becoming darker. Tube and solid-state modes offer distinct harmonic profiles—subtle at unity gain, yet truly powerful when the input signal is pushed. Decay and Tone – 0.5 to 8 seconds, featuring an evolving decay tail
Distribution – Dispersion with a high-frequency emphasis and stereo width, controlled by a single knob
Character – Tube (asymmetric, warm) or Transistor (symmetric, clean)
80 Hz Cut – Stepped low-frequency filter (0 / −4 / −10 / −16 dB)
30 Factory Presets – Covering both send and insert styles, ranging from short to long and narrow to wide
Fifth Order
Add a bit of “fatness,” and watch your sound transform.
A free, two-channel, Class A tube-style preamplifier. Each channel features input and output level controls, as well as low and high-frequency adjustments—each with a range of −12 to +12 dB. The circuit includes an always-active coloration stage (with no dedicated control) that subtly softens any signal passing through it. A “Link” function ties both channels together, while “Auto-Level” maintains a consistent volume when the signal is driven into overdrive. Additionally, it comes with 20 factory presets—far more than what many paid alternatives offer. Input / Output / Low Frequencies / High Frequencies — from -12 to +12 dB for each channel (independently adjustable)
Built-in coloration module — always active, requires no separate adjustment, affects the entire incoming signal
Link + Auto-Level — links channels together and automatically matches input/output levels (based on RMS)
20 factory presets — ranging from “Factory Uncalibrated” to the heavily overdriven “Felony Headroom”
Iron Deck
Two channels of authentic analog tape emulation for every insert.
A dual-channel tape machine with independent controls for each channel. The “REC” control manages non-linear saturation and natural RMS-based compression, while “REP” handles the output signal. Features include three signal path modes, selectable IEC or NAB playback equalization, bias adjustment, tape speed settings, high-frequency roll-off, and calibrated VU meters. “Glue” (track cohesion) is achieved without the use of actual physical tape hardware.
REC + REP — Input signal processed with tape saturation and RMS compression; output level reflects the signal after all processing.
REPRO / INPUT / SYNC — Full tape playback path, clean recording amplifier path, or tape-head synchronization mode.
IEC / NAB — European or American playback equalization curves….is active in all three modes.
Tape speeds of 7.5, 15, or 30 IPS, with corresponding LF/HF shelf settings for each speed.
The Black Clamp
Fast, punchy, and assertive.
A dual-channel FET compressor based on the classic JFET topology—the very circuitry that underpins many of the most iconic compression sounds in recording history. The unit features two completely independent channels, each with its own dedicated controls. Channels can be linked for stereo operation, used independently (dual mono mode), or switched to M/S mode—making it ideal for bus processing and mastering.
JFET Topology: Delivers the classic FET compression character—fast transient response, harmonic coloration, and a signature “glue” effect.
Two Independent Channels: Full, individual control over all parameters for each channel.
Stereo / Dual Mono / M/S: Three operating modes to handle any task, from tracking and mixing to mastering.
Sidechain High-Pass Filter (SC HPF): Prevents the compressor from overreacting to low-frequency content.
Magic Buss
Three compressors. One signal chain. You decide the order.
Three cascaded compression stages—FET, VCA, and Vari-Mu—each equipped with its own parallel blend control. Use them all together to add rich, distinctive character to a bus, engage just one or two modules, or bypass the ones you don’t need. The “Order” switch allows you to change the sequence of the compressors, which affects how subsequent stages respond to the incoming signal. Additionally, a six-band parametric equalizer and a saturation module are integrated into the signal chain.
Three compression stages—FET, VCA, and Vari-Mu—are connected in series; each is equipped with an independent blend control.
“Order” switch: lets you reorder the compressors and evaluate how the character of each circuit type changes depending on its position in the chain.
Six-band parametric equalizer: provides comprehensive tonal shaping following the compression stage.
Saturation module: adds density and harmonic coloration to the sound, positioned before the final output gain trim.
The Mad Scientist
Parallel compression with a tube core.
A parallel RMS compressor featuring even-harmonic saturation, integrated directly into the input stage. Feed a signal into the input, and the tubes will light up; reduce the input level, and the sound becomes clean. A fixed 4:1 ratio ensures musical-sounding compression with no extra effort required. The “Mix” knob blends the compressed signal with the dry signal, delivering a natural parallel sound at any setting.
Tube input stage: even-harmonic saturation is tied to the input gain—no separate “Drive” knob is needed.
“Parallel Mix” knob: blends the compressed and dry signals for natural parallel compression at any ratio.
M/S mode: independent processing of Mid and Side channels preserves the stereo image width, even under heavy compression. Automatic attenuation — a program-dependent attenuation that adapts quickly during intense activity and slowly during periods of minimal signal.
Volume Dealer
Measure. Target. Result.
A precision peak limiter equipped with a full suite of BS.1770 LUFS metering tools. Play your track once, set your target loudness, and click “Set Level” — the necessary gain adjustment is applied in a single step, bringing the signal to the target level. The “High Quality” mode adds 2x oversampling to detect inter-sample peaks before they can cause clipping during playback.
Set Level — measures integrated LUFS and applies precise gain correction to reach your target with a single click.
Full LUFS Suite — displays integrated, short-term, and momentary loudness in real time, alongside applied gain, gain reduction, and peak output levels.
High Quality Mode — utilizes 2x oversampling via an IIR polyphase half-band filter for accurate inter-sample peak detection.
Dithering — options for Off, 24-bit, or 16-bit dither with noise shaping, perfect for final exports at any bit depth.
Violet Crown
Six filters. A bus compressor. Zero dollars.
A stereo channel strip built upon the EQ and compression circuitry that defined the sound of bus processing at major record labels. Three independent EQ bands — each featuring dedicated boost and cut controls — process the signal……signal is fed into an adjustable RMS compressor with program-dependent automatic attenuation. No demo mode. No time limits. No license key required.
Six independent filters—with separate boost and cut controls for each band: two low-frequency filters, two mid-frequency filters, and two high-frequency filters.
Bus RMS compressor—features per-channel detection and an automatic attenuation mode, with ratios ranging from 1.5:1 to 8:1.
Flexible routing—choose whether the equalizer or compressor comes first in the signal chain; includes input level adjustment and -10/+10 dB of gain compensation.
Dual VU meters—300ms RMS ballistics, with independent L/R monitoring.
Velvet Crush
Air and presence, without the harshness.
Monitors six high-frequency bands relative to the overall signal and applies correction whenever “presence” or “air” becomes too prominent. Harshness is eliminated before it can even manifest. High frequencies are expanded naturally—without causing listener fatigue—regardless of the source material.
Six-band monitoring—real-time tracking and correction for presence, harshness, clarity, sparkle, air, and “ultra” frequencies.
Three character modes—Silk, Velvet, and Air—determine the correction threshold for all six bands.
Blend knob—allows for parallel correction, ensuring the effect remains unobtrusive until you need it.
Indicator—lights up when correction is active, letting you see the process in action.
Speaker Breaker
Keep your low frequencies under control.
This plug-in monitors five low-frequency bands relative to the overall signal level and automatically applies adjustments if any of them begin to dominate the mix. This is not a limiter, but a tool for controlling spectral balance; it maintains the proper relationship between the sub-bass, kick drum, and bass—regardless of how loud your track is.
Five-band monitoring: real-time tracking of sub-bass, kick drum, bass, upper bass, and mid-frequencies.
Three contour modes (Warm, Neutral, Open): determine the intensity of the processing applied to each band.
Blend control: allows you to adjust the depth of parallel processing—applying exactly as much as your track requires.
Activity indicator: lights up whenever corrections are being applied, letting you see the plugin at work.
Alternate Timeline
Shape your sound across different eras.
Six decades of expertise in a single processor. Choose an era, set the balance, and adjust the tone. Each setting applies an EQ curve, compression behavior, and harmonic profile characteristic of the best studios from that period.
Six era-based presets—spanning from the 1960s to the present day—each with a cohesive EQ and compression character.
Low / Mid / High frequencies: a three-band tonal adjustment applied on top of the era-specific processing.
Balance control: a full parallel processing chain, ranging from a subtle touch to a complete transformation.
Dual VU meters: analog-style signal level indicators for both input and output.
Installation:
1. Place the folder in any directory of your choice (do not place it in a system directory).
2. Delete SymLink.cmd
3. Create Symlink.cmd
In the keygen’s drop-down menu, select “All”.
Enjoy!
