Mastino 60

Name: Mastino 60
Brand: MousePlugins
Price: 19.00 EUR
Availability: InStock

Punchy Multiband VCA Compressor

Fast VCA compression.

DYNAMICS Stereo L/R M/S Multiband Oversampling Auto-Gain

Fast hard-knee VCA-style compression for drums, bass, and buses - now three-band. Per-band threshold, compress and makeup gain, two crossovers, sidechain filter, stereo / L-R / M-S, parallel mix.

Formats CLAP VST3

€19.00 v1.2.1

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Quick Start Manual Release Notes

Fast compression that bites back.

Mastino 60 is a direct compressor: threshold sets where the clamp begins, Compress sets how hard the detector turns gain down, and Output brings the level back where it belongs. It is built for decisive dynamics work rather than invisible levelling.

The sidechain filter changes what the detector listens to. Push it when kick drums or bass fundamentals are making the compressor overreact; pull it back when you want the full signal to drive gain reduction. Stereo Link controls whether the detector behaves as one linked stereo control path or lets each side move more independently.

Mix is built in because this style of compression often sounds best when the obvious version is blended under the clean one. Quality modes let you pick the right CPU/accuracy point for tracking, mixing, or rendering, while the plugin reports fixed low latency to the host.

Mastino 60 is offline-first. The plugin does not phone home during use, does not collect telemetry, and does not require an internet connection after activation. One license file, one plugin.

Drum Clamp
Bass Lock
Parallel Crush

Lifetime bundles

Get Mastino 60 in a lifetime bundle.

All current and future plugins in that bundle. Updates included for life. Prices rise as more plugins are added.

Effects Bundle €59.00

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Fast compression that bites back.

Fast hard-knee VCA-style compression for drums, bass, and buses - now three-band. Per-band threshold, compress and makeup gain, two crossovers, sidechain filter, stereo / L-R / M-S, parallel mix.

Drum Clamp

Fast gain reduction, hard-knee attitude, and enough recovery movement to make close mics and buses feel more urgent.

Bass Lock

Hold low-end notes in place without turning the attack into paste. Use the detector filter when the lows push too hard.

Parallel Crush

Drive it harder than you should, then pull Mix back. The useful range is not hidden in a menu.

THREE-BAND MULTIBAND

LO / MID / HI, each its own

Split the signal into low, mid and high bands and compress each one independently - per-band threshold, compress and makeup gain, two crossovers, and per-band gain-reduction metering. Switch LO and HI off and Mastino is the familiar single-band compressor.

VCA-STYLE GRIP

Hard-knee detector for punch

A hardware-inspired VCA-style detector with a hard-knee response curve, built for fast gain reduction, transient control, and the kind of grip that works on drums, bass, buses, and mix buses.

FOUR QUALITY MODES

Live 1× to Master 8×

Live, Design, Mix, and Master modes give you 1×, 2×, 4×, and 8× oversampling. Track with zero added latency, then switch up for mixing or mastering while keeping the same calibrated DSP behavior across the workflow.

ROUTING IN ONE CLICK

Stereo, L/R, or M/S

Switch between Stereo, Left/Right, and Mid/Side operation from one control. Internal Mid/Side encode/decode and Lane Link let you move quickly between classic stereo compression, independent dual-lane work, and width-aware processing.

BUILT FOR PUNCH

Drums, bass, percussion, and buses

Parallel Mix, pre-detector sidechain high-pass, Auto-Gain at 0 VU / -18 dBFS RMS, and 64-bit floating-point internal processing give Mastino 60 the control needed for drum hits, bass weight, percussion snap, and mix-bus compression.

In This Page

LO / MID / HI, each its own
Hard-knee detector for punch
Live 1× to Master 8×
Stereo, L/R, or M/S
Drums, bass, percussion, and buses

Offline-first license

No iLok. No phone-home. Use it on your own machines. Yours to keep.

Learn more →

Overview

Plugin type Three-band hard-knee VCA-style compressor

Bands Three-band (LO / MID / HI), LO and HI switchable, MID always on

Use cases Drum bus, bass, vocal bus, mix bus, parallel compression

Channel modes Stereo, Left/Right, Mid/Side

Lane linking Linked or unlinked processing per mode

Reported latency 0 samples at Live/1x; higher fixed, host-compensated latency in oversampled modes

Processing

Signal path Input stage, global sidechain HPF, band split (LO/MID/HI), per-band VCA-style gain reduction and makeup, recombine, parallel mix, output stage

Detector Hardware-inspired S-curve, hard-knee response

Stereo / lane linking Linked or independent detection, depending on Lane Link

Sidechain filter Global high-pass, pre-detector

Oversampling 1x, 2x, 4x, 8x

Quality modes Live 1x / Design 2x / Mix 4x / Master 8x

Internal processing 64-bit float

Controls

Bands LO / MID / HI - LO and HI switchable, MID always on

Crossovers LO/MID and MID/HI, 20 Hz - 20 kHz

Threshold -60 to 0 dBFS per band, default -18 dBFS

Compress Detector strength / compression intensity, per band

Gain Per-band makeup gain, -40 to +40 dB

SC Filter Global detector-only high-pass filter

Channel Mode Stereo / Left-Right / Mid-Side

Lane Link Linked / Unlinked

Mix Parallel dry/wet blend

Input / Output Gain staging with optional Auto Gain

Auto Gain Input and output gain staging using 0 VU / -18 dBFS RMS as a level reference

Knob reset Double-click any knob

Metering

Input meters Per active lane, peak + RMS

Output meters Per active lane, peak + RMS

Gain reduction Visible per active lane

Footer readout Quality, latency, sample rate, CPU, version

Formats

Plugin formats VST3, CLAP

Sample rates 44.1, 48, 88.2, 96, 176.4, 192 kHz

Channel layout Stereo in / stereo out

Automation All main controls exposed to host automation

Preset format Single-file .mastinopreset XML

System Compatibility

Windows 10 / 11 (64-bit)

Linux Ubuntu 22.04+, Debian 12+, Mint 21+ (glibc 2.35+)

macOS Not currently shipped

CPU x86_64 with SSE2

RAM Negligible (DSP-only)

Internet Not required for activation

Licensing

License model Offline, machine-based

Activation Local license file

Machines Unlimited (personal use)

Resale Not transferable

Ownership Perpetual license, free updates included

Installation

Windows VST3 C:\Program Files\Common Files\VST3\

Windows CLAP C:\Program Files\Common Files\CLAP\

Linux VST3 ~/.vst3/ or /usr/local/lib/vst3/

Linux CLAP ~/.clap/ or /usr/local/lib/clap/

Components VST3 + CLAP for Windows and Linux

Authorization Local license file, no internet check

Mastino 60 is a hard-knee VCA-style compressor for fast, assertive gain reduction. It is built for material that needs grip: drums, bass, guitars, synths, and buses where control should be felt, not hidden.

Mastino 60 is designed for fast, assertive VCA-style gain reduction rather than invisible levelling. It can clamp peaks, add punch, and create audible movement when pushed. Use it when you want compression that shapes the sound instead of disappearing completely.

Start with drum buses, individual drums, bass, guitars, synth buses, percussion rooms, and parallel returns. It also works on a mix bus when used gently, but its natural strength is decisive control rather than invisible smoothing.

Yes. Mastino 60 is especially useful on drums when you want fast gain reduction, more urgency, and a harder clamp on peaks. Start with 3-6 dB of gain reduction on the loudest hits, then match Output before judging the result.

Yes. Use it to hold bass notes in place and keep low-end movement controlled. If the compressor reacts too much to deep fundamentals, raise SC Filter so the detector is less dominated by the lowest frequencies.

Yes, but it is not a soft vocal leveller. Use lower Compress settings and aim for moderate gain reduction. If plosives or breath pops trigger too much compression, raise SC Filter and level-match with Output.

Yes, carefully. Start with low Compress settings and only 1-2 dB of gain reduction. Raise SC Filter if kick or bass causes pumping. If the effect is too obvious, reduce Mix or move Mastino 60 to a drum or parallel bus instead.

Threshold sets where compression begins. Lower it until the gain reduction meter moves with the loudest parts of the signal. If you lower it too far, the performance can become flattened or over-controlled.

Compress controls how firmly the signal is held once compression starts. Lower settings are better for control. Higher settings create stronger clamp, harder transient control, and more obvious movement.

SC Filter shapes what the detector listens to. Raise it when kick drums, bass notes, plosives, or low-frequency energy make the compressor overreact. Lower it when you want the full signal to drive gain reduction.

Stereo Link controls how much the left and right channels share gain reduction. Higher values keep the stereo image more stable. Lower values allow more independent movement between channels, which can feel wider or more animated but may also move the image.

Mix blends the compressed signal with the dry signal. Keep it at 100% for direct compression. Lower it when the compressed sound has the right energy but the attack feels too controlled. For parallel crush, push Threshold and Compress harder than normal, then pull Mix back.

Output is the final post-compression level trim. Use it to match the active level to the bypassed level before deciding whether the compression is helping. Level matching makes bypass comparisons more reliable.

Quality selects the processing quality / CPU point. Live (1x) is the lowest CPU mode, useful while tracking or writing. Design (2x) is good for sound design and normal drafting. Mix (4x) is recommended for everyday mixing. Master (8x) is the highest quality mode, best for final renders. Use Live when you need responsiveness, Mix for most sessions, and Master when printing final audio.

Yes. Mastino 60 reports fixed low latency to the host so your DAW can compensate automatically. If timing seems wrong, check that plugin delay compensation is enabled in your DAW.

Compression often changes perceived loudness. Always level-match with Output before bypass comparison. If the compressed version is louder, it can seem better simply because of the level difference.

Raise SC Filter if kick, bass, or low-frequency energy is pulling the whole signal down. Use less Compress, raise Threshold, or reduce Mix if the pumping is still too obvious.

Raise Threshold, reduce Compress, or lower Mix. If you still want the body and density from heavy compression, use Mastino 60 in parallel and blend the compressed path under the dry signal.

Increase Stereo Link. A higher Stereo Link setting keeps left and right gain reduction moving together, which helps preserve image stability.

Mastino 60 is available as CLAP and VST3.

Mastino 60 supports Windows 10+ 64-bit and Linux 64-bit.

Not currently. Mastino 60 is built for Windows and Linux.

Mastino 60 supports 44.1 kHz to 192 kHz.

Mastino 60 requires a 64-bit x86 CPU.

No. Mastino 60 does not use iLok and does not require a dongle.

Yes. Mastino 60 processes audio locally and does not require an internet connection after activation.

No. The plugin does not collect telemetry and does not phone home during use.

After purchase, activate Mastino 60 using the license method provided by MousePlugins. After activation, the plugin can be used offline.

Install the VST3 or CLAP file into the plugin folder used by your DAW, then rescan plugins inside the DAW. Use VST3 if your host supports VST3, or CLAP if your host supports CLAP.

Check that you installed the correct format for your DAW, that the plugin file is in the folder your DAW scans, and that the DAW has rescanned plugins. Also check whether your DAW supports CLAP, VST3, or both.

The demo is fully functional, with every control active and no time limit. The demo adds a periodic noise burst that will also be printed in renders.

Yes, but the demo noise burst will be included in rendered/exported audio. Use the licensed version for clean final renders.

Yes. Push Threshold and Compress harder than you normally would, then lower Mix until the dry attack feels natural again. This is one of Mastino 60's main uses.

This style of compression often sounds best when the obvious compressed version is blended under the clean signal. Built-in Mix lets you do that directly without setting up a separate parallel bus.

Both can work. Put Mastino 60 before EQ when you want stable dynamics before tone shaping. Put it after EQ when you want the EQd signal to drive the detector. If low-end EQ makes the compressor overreact, raise SC Filter.

On drums and buses, Mastino 60 often works well before a clipper or limiter. Use Mastino 60 to shape movement and density, then use the next stage to catch peaks.

Not primarily. It can be used gently, but it is designed for fast, assertive VCA-style control. If you need completely invisible levelling, use conservative settings or choose a compressor designed specifically for transparent gain control.

Play the loudest section, lower Threshold until the gain reduction meter moves, set Compress for the amount of clamp you want, then match Output. After that, adjust SC Filter, Stereo Link, Mix, and Quality.

Use Mix (4x) for normal mixing. Use Live (1x) while tracking or writing, and Master (8x) when rendering final audio.

Visit the MousePlugins support page or contact support through the email listed on the website.

What's Included

Mastino 60 Plugin
Quick Start
Full User Manual
Factory presets

Supported Formats

CLAPVST3

System Requirements

Windows: 10 or later
Linux x64: glibc 2.35+

Ubuntu 22.04+
Debian 12+
Linux Mint 21+
Fedora 36+
Arch / Manjaro / EndeavourOS / Garuda
openSUSE Tumbleweed
Pop!_OS 22.04+

CPU: Any 64-bit x86
Host: 64-bit VST3 or CLAP-compatible DAW

Free updates Included for Mastino 60 1.x

Secure payments Stripe, PayPal, wallets, Klarna when eligible

Human support Real replies when something breaks

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Mastino 60

Fast compression that bites back.

LO / MID / HI, each its own

Hard-knee detector for punch

Live 1× to Master 8×

Stereo, L/R, or M/S

Drums, bass, percussion, and buses

Pairs well with

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