MYR ZENITH is a complete mastering chain in one window. Twelve modules sit in the order a mastering engineer would build them, and that order is the point: correct before you compress, compress before you polish, limit last. You can switch any module off, but you cannot put the exciter in front of the corrective EQ, because that is not how a master is built.

The chain, in order:

• 01 Utility – polarity, balance, DC and mono bass first, so everything after it works on a stable low end.
• 02 EQ – six bands on stereo, mid or side, with separate high and low cuts for mid and side at 6 to 96 dB per octave.
• 03 Clean – four resonance cuts, static or dynamic, before compression can emphasise them.
• 04 Harshness – six dynamic cuts in a range you choose, taming hard peaks before the compressors react to them.
• 05 Opto – a behaviour model of an optical T4 cell, for slow musical levelling.
• 06 Multiband – eight bands, mid and side handled separately.
• 07 Low End – punch, sustain and weight for kick and bass, once the dynamics are settled.
• 08 Glue – VCA bus compressor with auto release, sidechain high-pass and mix.
• 09 Brilliance – air, silk, presence and exciter, after the compression rather than before, so the shine is not squashed again.
• 10 Saturation – tape, tube, transformer or warm, with a focus on lows or highs.
• 11 Imager – width in four bands, with vectorscope and correlation.
• 12 Limiter – true-peak limiting with soft clip, release automation and dither.

Loudness you can actually aim at
The panel on the right reads LUFS integrated, short-term and momentary, loudness range, true peak, PSR and PLR. Pick a target – Spotify, Apple, YouTube, Tidal or your own number – play the loudest typical part of the track and press LEARN. ZENITH sets the limiter so the target is met at −1 dBTP, instead of leaving you to guess the gain. A streaming preview shows what each platform will turn the master down by, and lets you hear it.

Tools that only change what you hear
COMPARE plays the unprocessed mix. MATCH drops the master to the loudness of that mix, so an A/B tells you about tone rather than level – louder always sounds better, and that is exactly the trap. LISTEN gives you mono and the delta signal, SWEEP finds a ringing frequency by ear and offers to cut it where you heard it. None of them touch what you render.

28 factory presets in three groups: General for everyday masters, Genre for a starting point by style, and Repair for mixes that arrive muddy, harsh, dull or too wide. The moves in them are deliberately small, usually one or two dB of EQ and a 1.5:1 to 2:1 glue ratio. They never set the final loudness, because the right gain depends on the level of your mix – that is what LEARN is for. Every preset is tested automatically to render finite and to land where its own curve predicts.

Formats and systems
macOS 11 or newer as VST3 and Audio Unit, one Universal build for Apple Silicon and Intel. Windows 10 or newer as 64-bit VST3. 215 host parameters, 214 of them automatable; only the quality switch is not, because it changes latency.

How it is held to account
ZENITH passes the VST3 host check 489 out of 489, pluginval at strictness level 10 and auval -strict. Across the family, every build runs 305 automated tests, including a realtime allocation check, plus soak testing at six sample rates.

Free to download and free to use, in private and in commercial productions. No licence key, no trial period, no account, and no module held back for a paid version that does not exist.

The manual is readable in your browser before anything is installed. ZENITH is the fifth plugin in the MYR Audio Plugins Ecosystem, beside the ORBIT reverb, the PULSAR delay, the PRISM vocal harmonizer and the TITAN dynamic EQ.

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