Mellowmuse has been developing innovative audio plugins for musicians, producers, and sound engineers since 2008. Our focus has always been on sound quality and ease of use. For the first time, you can get all Mellowmuse plugins in one bundle, including all the compressors, equalizers, and mixing tools you need.
CP1A v.3.8.0 CP1A
The CP1A is an audio dynamics compressor plugin designed for clean, low-distortion processing of a wide range of material, from subtle dynamics correction to creative drum processing. It uses a multi-stage feedforward circuit to minimize distortion artifacts even at extreme compression settings. The interface is clean and functional.
Separate dry and wet level controls allow you to blend the compressed signal with the original, making New York-style parallel compression a breeze. A high-pass filter control for the envelope detector allows precise control of low-frequency compression, perfect for ensuring your kick drum doesn’t lose its punch.
CP2V v.3.6.0 CP2V
The vintage-style CP2V compressor is a track and software audio compressor with dynamic gain that oozes character and personality. It features an interface designed for ease of use and multi-stage analog processing that adds smooth, rich harmonics.
It’s equally at home on drums, ducking vocals, or enhancing acoustic guitar. Without a doubt, this is our most viscous-sounding compressor to date!
CP3V v.2.6.0 CP3V
CP3V is a dynamic audio compressor plugin, partially inspired by the classic analog 1176 compressor. Analog-modeled saturation and compression stages allow you to gradually add warmth to a compressed signal at higher levels without ever sounding harsh.
Combined with ultra-fast attack and release times, it offers a wide range of creative compression options to help your tracks cut through any mix.
The CS1V
brings the warmth and depth of an analog console to your tracks and mixes. Drive increases the saturation level. Tone adjusts the preamp character: darker and heavier in the low frequency range when turned counterclockwise, and gradually brighter harmonic enhancement in the high frequency range when turned clockwise. There are two selectable preamp modes: A has a darker character overall, and B has a smoother frequency response.
The default “Channel” mode is designed for mono tracks. When connected to stereo tracks or auxiliary channels, you can use the “Buss” control to add a slight amount of crosstalk, similar to a hardware mixer. Enabling Automatic Gain Control (AGC) attenuates the output signal according to the volume of the source. The Group knob allows you to manage all instances with the same number as a group, simplifying ensemble adjustments.
EQ1A v.3.8.0 EQ1A
The EQ1A is an ultra-smooth analog equalizer with minimal phase distortion. It features a high-pass filter with adjustable Q, variable low-pass and high-pass filters, and adjustable low-pass and high-pass peaking filters with adjustable Q. Each filter section has a bypass switch for greater flexibility.
The interface is inspired by classic external equalizers, and all controls are within easy reach. Its processor-efficient design allows for multiple instances, making it a versatile equalizer for any task.
Best of all, it’s free—just download and install—no license required!
EQ2V v.3.2.0 EQ2V
The EQ2V is a vintage-style equalizer that recreates the weight and color
of its classic hardware counterparts. Harmonic coloration increases with increasing
input signal and EQ gain, adding depth and warmth to any material.
The SofTran function is useful for smoothing signals with sharp transient peaks,
such as snare drums and hi-hats, especially after boosting the high frequencies. All
EQ and saturation algorithms are oversampled, using 64-bit
internal processing for superior clarity and resolution.
EQ3V v.2.2.0 EQ3V
The EQ3V is a flexible 7-band vintage equalizer featuring 5 bands of
fully parametric EQ, high- and low-pass filters with adjustable Q, and its own
unique analog-modeled saturation. It’s ideal for mixing or recording
where character and precision are essential.
Current values for all parameters are clearly displayed, and precise values can be entered. Each EQ section can be individually bypassed.
IR1A v.5.2.0 IR1A
The IR1A Convolver plugin is a convolution plugin that lets you apply the sonic characteristics of an impulse response (IR) file to your mono or stereo audio tracks in real time. It features a high-quality, zero-latency convolution engine capable of reproducing everything from guitar cabinets to rich, natural reverbs and special effects. The IR duration can be varied, and high-pass/low-pass filtering and pre-delay can be applied for creative sound shaping.
LM1V v.2.2.0 LM1V
The LM1V is an analog limiter with a modeled “brickwall” structure, 8x oversampling, and intersample peak detection. It’s capable of achieving high volume levels with minimal distortion, delivering exceptional musicality.
Separate attack, release, and stereo link controls allow for a wide range of settings, from near-clipping to smooth limiting, without excessive pumping or artifacts. Intersample peak detection prevents clipping, maintaining a stable output level. The LM1V is equally suited for processing individual tracks and for use on a mixing bus.
SATV v.4.5.0 SATV
SATV is an analog saturation modeling plugin that can add harmonic depth and richness to any track. Equally suitable for individual instruments and multi-track drum kits, SATV makes it easy to enhance or boost the harmonic content and dynamics of the entire mix.
Four selectable saturation modes—transistor, transformer, tube, and ribbon—provide a wide range of sound shaping options, from subtle warmth to extreme crunch. Group control allows multiple instances to be managed as a group, simplifying ensemble changes. Automatic gain compensation allows for processing without affecting the overall volume.
ATA v.2.9.0 only AAX
Auto Time Adjuster is a latency compensation (PDC) plug-in originally developed for use in Pro Tools LE 7 and 8 (RTAS), as they lacked a built-in PDC function. ATA continues to be a useful tool in newer versions of Pro Tools (9+/AAX) that include PDC, as users can take advantage of a larger latency limit (50,000 samples) and the increased accuracy of measuring plug-in latency directly (including external hardware), rather than relying on values reported by plug-ins.
ATA is installed on every track in your mix. The actual latency of all plugins and external devices is then measured using a short audio pulse, or “ping,” triggered by the ATA installed on the master fader. ATA then calculates and sets the appropriate latency for each ATA on each track or bus, aligning all tracks and ensuring the most accurate synchronization.
