M Media Audio – M Media Bundle v26.10 for WiN

Creative tools from broadcast engineers

M Media Audio has been working in the professional audio industry since 1994. Our plugins are based on real-world mixing and mastering processes, combining proven methods and practical solutions developed over decades of studio work. Each plugin is designed to effectively solve technical problems, stimulate the creative process, and deliver reliable results—all in VST3 format.

Warm Repeats

Sounds good. Do it again.

A free multi-head tape echo effect with an independent spring reverb running in parallel, rather than on top of it. Three selectable tape heads combine into seven patterns, the feedback conveys real tape vibration and warmth that intensifies with each repeat, and the Fresh/Worn control determines how pronounced this character is. Increase the Intensity above 100%, and the feedback begins to truly oscillate.

• Head Pattern – 7 combinations: short, medium and long
• Intensity – 0-115%, self-oscillation above one
• Tape Age – Fresh or Worn, two different types of sound
• Spring Reverb – independent engine, its own reverb level
• 22 factory presets – echo effect, dub, drone, doubling and much more

Thunderbuss Mix

A real processing chain, not a gimmick.

Most free bus processors offer one trick. Thunderbuss Mix gives you the whole chain: a variable-gain compressor set to “glue,” a tube-based saturation stage, and a feedforward limiter that really keeps things low—all reduced to five knobs. A sidechain high-pass filter prevents kick and bass from “pumping” the rest of the mix, and the limiter’s two-speed mode means that fast peaks are restored to the mix’s natural level, rather than returning to zero after each trigger. The first of five free Thunderbuss bus processors.

• Variable gain compressor – single knob, automatic compensation, sidechain high-pass filter
• Feedforward limiter – fixed ceiling of -0.3 dBFS, no pumping
• Peak VU – 0 = ceiling, physically impossible to exceed
• 10 factory presets – mix, master, podcast and more
• First of five – one free Thunderbuss bus processor per week

Room Service

Suspension steel. Natural attenuation.

A plate-structured reverb designed to perform like the real steel-framed reverbs it’s based on: a fast, tight buildup, high frequencies that arrive before the lows, and a tail whose tone develops as it decays, rather than simply becoming dark. Tube and transistor modes each have their own distinct harmonic characteristics, barely noticeable at unity, but truly powerful as the input signal increases.

• Decay and Tone – 0.5 to 8 seconds, with a developing decay tail
• Spread – High-frequency dispersion and stereo width, one knob
• Character – Tube (asymmetrical, warm) or transistor (symmetrical, clean)
• Cutoff 80 Hz – Shelving low-pass filter, 0 / -4 / -10 / -16 dB
• 30 Factory Presets – Send and insert styles, from short to long, narrow to wide
  

Fifth Order

A little bit of “fat” and the sound is transformed.

A free dual-channel Class-A vacuum tube preamplifier. Each channel features input and output level controls, as well as bass and treble controls, each with a range of -12 to +12 dB. A built-in, always-on sound coloring block (without a separate control) gently softens the sound of any signal passing through it. The Link function firmly links both channels, and Auto-Level maintains stable volume even when clipping. Additionally, 20 factory presets are available—far more than many paid analogs offer.

• Input / Output / Low Frequency / High Frequency – from -12 to +12 dB for each channel (independently adjustable)
• Built-in color block – always active, does not require separate adjustment, affects the entire signal passing
• Link + Auto-Level – rigid channel linking and automatic equalization of input / output levels (by RMS)
• 20 factory presets – from “uncalibrated” (Factory Uncalibrated) to extremely overloaded (Felony Headroom)

Iron Deck

Two channels of real iron on each insert.

A dual-channel tape transport with independent controls for each channel. REC controls nonlinear saturation and natural RMS compression. REP outputs the signal to the other side. Three signal path modes, IEC or NAB playback equalizer, bias adjustment, tape speed shelving, high-frequency roll-off, and calibrated VU meters are available. Track splicing is performed without the use of real hardware.

• REC + REP – Input signal with tape saturation and RMS compression; output signal level after all processing.
• REPRO / INPUT / SYNC – Full tape playback path, clean recording amplifier path, or head synchronization.
• IEC / NAB – European or American playback equalizer curve, active in all three modes.
• Tape speed – 7.5, 15, or 30 IPS with matched low/high shelving adjustment for each speed.

The Black Clamp

Fast, assertive, accentuated.

A dual-channel FET compressor built on the classic JFET topology—the same circuit design that underlies many of the most recognizable compression techniques in the history of audio recording. The unit consists of two completely independent channels with separate controls for each. The channels can be combined for stereo mode, used independently (dual mono mode), or switched to M/S mode, ideal for bussing and mastering.

• JFET topology offers the classic character of FET compression: fast transient response, harmonic coloration, and a “glue” effect.
• Two independent channels provide full control of all parameters for each channel.
• Stereo/Dual Mono/M/S—three operating modes covering everything from recording and mixing to mastering.
• Sidechain High-Pass Filter (SC HPF) prevents excessive compressor overdrive due to low frequencies.

Magic Buss

Three compressors. One chain. The order is up to you.

Three cascaded compression stages—FET, VCA, and Vari-Mu—each with its own blend control. Use them all together to give the bus a rich, distinctive sound, employing one or two modules, or disabling unnecessary ones. The Order switch lets you change the order of the compressors, affecting how subsequent stages respond to the incoming signal. A six-band parametric EQ and saturation block are also integrated into the chain.

• Three compression stages—FET, VCA, and Vari-Mu—are connected in series, each with an independent blend control.
• An Order switch lets you change the order of compressors and evaluate how the sound character of each circuit type changes depending on its position in the chain.
• A six-band parametric EQ provides comprehensive tone correction after the compression stage.
• A saturation block adds density and harmonic coloration to the sound before the final gain trim.

The Mad Scientist

Parallel compression with tube core.

A parallel RMS compressor with even-harmonic saturation built directly into the input stage. Feed the input signal, and the tubes light. Reduce the feed, and the sound becomes clear. A fixed 4:1 ratio ensures musical compression without requiring any extra effort. The Mix knob blends the compressed signal with the dry signal for a natural parallel sound at any setting.

• The vacuum tube input stage saturation of even harmonics follows the input gain, eliminating the need for a separate Drive knob.
• The 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 width of the stereo base under strong compression.
• Automatic fading – program-dependent fading adapts quickly during intense use and slowly during minimal input.

Volume Dealer

Measurement. Goal. Result.

A limiter with precise peak level and a full set of BS.1770 LUFS meters. Play a track once, set the target volume, and press “Set Level”—the corrective gain is applied in a single step. The limiter then reaches the maximum level. The “High Quality” mode adds 2x oversampling to detect intersample peaks before they become overloaded during playback.

• Set Level – Measures the integrated LUFS and applies precise gain correction to achieve the target with one click.
• A full set of LUFS—integrated, transient, and momentary loudness are displayed in real time along with applied gain, gain reduction, and peak output.
• High Quality mode—2x oversampling with a half-band polyphase IIR filter for true intersample peak detection.
• Dither—off, 24-bit, and 16-bit dithering with noise shaping for final export at any bit depth.

Violet Crown

Six filters. Tire compressor. Zero dollars.

A stereo channel strip built on the EQ and compression that defined the sound of major label bus processing. Three independent EQ bands—each with separate boost and cut controls—feed the signal to a customizable RMS compressor with automatic attenuation, dependent on the program. No demo mode. No time limit. No license key.

• Six independent filters provide separate boost and cut for each band: two low-pass filters, two mid-pass filters, and two high-pass filters.
• RMS bus compressor: channel-specific definition, automatic attenuation mode, 1.5:1 to 8:1.
• EQ or compressor first: routing switching, input level adjustment, and -10/+10 dB gain compensation.
• Two VU meters: 300 ms RMS ballistic, independent L/R.

Velvet Crush

Air and presence without harshness.

Monitoring six high-frequency ranges relative to the overall signal and correcting them when presence or air is pushed too far forward. Harshness is eliminated before it becomes apparent. High frequencies extend naturally, without causing fatigue, regardless of the source.

• Six-band monitoring—presence, sharpness, clarity, sparkle, air, and ultra-correction in real time.
• Three character modes—Silk, Velvet, and Air—define the correction threshold for all six bands.
• The Blend knob—a parallel correction chain—stays out of the way until needed.
• An indicator—lights up when correction is active, so you can see how it’s working.

Speaker Breaker

Keep the low frequencies under control.

The plugin monitors five low-frequency ranges relative to the overall signal level and automatically makes adjustments if any of them begins to dominate the mix. It’s not a limiter, but a spectral balance control tool that maintains the correct relationship between sub-bass, kick, and bass—no matter how loud your track is.

• Five-band monitoring: real-time monitoring of sub-bass, kick, bass, upper bass, and midrange frequencies.
• Three contour modes (Warm, Neutral, Open): determine the intensity of the effect on each band.
• Blend knob: allows you to adjust the depth of parallel correction – exactly as needed for your track.
• Activity indicator: lights up when corrections are made, letting you see how the plugin is working.

Alternate Timeline

Shape your sound across eras.

Six decades of mastery in a single processor. Select an era, set the balance, and fine-tune the tone. Each setting applies the EQ curve, compression behavior, and harmonic profile of the best rooms of that era.

• Six era-specific presets—from the 1960s to modern times—each with a coordinated EQ and compression character.
• Low/Mid/High—a three-band tone control layered over the era-specific processing.
• Balance control—a full parallel processing chain, from subtle to full-on.
• Dual VU meters—analog signal level meters, input, and output.