We spent years building processing chains for major radio networks. Then we decided everyone should have access to that same quality.
MixBus Audio started in the back rooms of broadcast facilities. Our founders spent the better part of a decade designing custom audio processing chains for some of the largest radio networks in North America — tuning multiband compressors at 3 AM, chasing inter-sample peaks that clipped HD Radio encoders, and building bespoke loudness management systems that had to work flawlessly 24/7/365.
After years of building those systems for a handful of networks, we asked ourselves a simple question: why does broadcast-grade processing have to stay locked behind six-figure hardware racks and proprietary firmware? The DSP knowledge exists. The computing power exists. The only thing missing was software that brought it all together with the precision of broadcast hardware and the flexibility of a modern plugin.
That question became MixBus Platinum — a complete broadcast-quality signal chain in a single plugin. Every stage is modeled on real processing architectures we built and deployed in production broadcast environments. No shortcuts, no "good enough" approximations. The same algorithms, the same attention to gain staging, the same obsessive metering accuracy.
We believe broadcast-grade audio processing should be accessible to everyone — not just networks with six-figure equipment budgets. Our mission is to deliver the same level of processing quality, metering accuracy, and signal chain integrity that major broadcast facilities rely on, in software that runs on any modern computer.
That means no compromises on the DSP. When we say "broadcast-grade," we mean our limiter holds the same true-peak ceiling as hardware units costing 20x more. Our AGC uses the same gated-release architecture deployed in real on-air chains. Our multiband compression was tuned against reference hardware in A/B listening tests until the differences were inaudible.
But accessibility isn't just about price — it's about usability. We've wrapped deeply technical processing in an interface that broadcast engineers will recognize instantly, while making it approachable enough for podcasters, streaming producers, and mastering engineers who are new to broadcast-style processing. The ProcIQ system takes this further by providing intelligent supervision that helps users get professional results without needing a decade of broadcast experience.
We're a small, focused team — and we like it that way. Everyone at MixBus Audio ships code, answers support tickets, and listens to what our users are building. There's no layer of product managers between the people writing DSP algorithms and the people using them on air.
We're not trying to build the biggest audio company. We're trying to build the best broadcast processor — period. Every feature in MixBus Platinum exists because a real user needed it in a real workflow, not because a competitor had it on a feature checklist.
We take the same approach to support. When you email us, you're talking to someone who understands signal chains, gain staging, and codec behavior — not someone reading from a script. We've helped stations debug processing issues at midnight before a format launch, and we've spent hours on calls with podcasters who just wanted their show to sound better.
If you care about how your audio sounds — whether you're broadcasting to a city, streaming to the world, or mastering a record — we built MixBus Platinum for you.