P915 MEDUSA

P915 is not a parallel EQ, even though it lives in parallel.

A conventional parallel EQ still works like an EQ. You boost or cut frequencies, just on a wet path, and then blend that back in. You are still shaping curves, just less destructively.

P915 works differently.
It does not reshape the signal. It adds a structured spectral contribution alongside it.

Think of it as reinforcing balance rather than correcting tone. Instead of saying “this frequency is wrong,” you’re asking “does the sound benefit from energy here?”

That’s why the result feels like reweighting, not EQ.
You hear changes in clarity, density, and projection without hearing obvious boosts or cuts.

That distinction is the core of Medusa.

P915 is built around focused energy zones, not sweepable EQ bands.

The 12 fixed filter bank bands are the heart of the plugin. Each one represents a musically chosen frequency zone. You don’t search for the right frequency, you test it. You apply pressure, listen to the response, and either keep it or close it.

Then you have the two anchors:

Foundation shapes the low end contribution.
It’s not a bass boost. It controls how much low-frequency structure is reinforced.

Depth controls how that low end behaves.
Lower Depth keeps things broad and supportive. Higher Depth tightens and focuses the low-frequency energy.

On the top end, you have High Bloom, which reinforces openness and lift without sounding like a shelf.

Air controls how far that openness extends.
Lower Air feels closer and denser. Higher Air feels more extended and dimensional.

Together, these controls let you shape the skeleton of the spectrum before worrying about details.

This is extremely important.

DELTA is not the sound. DELTA is the microscope.

When you switch to DELTA, you are listening only to what Medusa is contributing. This is where you can make bold decisions quickly. Push a band. Pull another. Listen to how the contribution behaves.

It can sound narrow, aggressive, or strange on its own, and that’s normal. You’re isolating the pressure points.

Once you know what you want to add, you switch to PARALLEL BLEND.

That’s where Medusa is meant to be judged.
You blend the contribution back at 20–40%, sometimes even less, and you listen to how the original signal stabilizes and reorganizes.

If you remember one thing:
Decide in DELTA. Judge in PARALLEL BLEND.

TIME is not a delay and it’s not a widener.

It introduces micro-timing dispersion only in the contribution signal, the dry stays untouched.

So you don’t hear echoes, you hear added dimension.

What surprises people is the center often feels firmer, not weaker.

And because it’s parallel and blended, it stays mono compatible. It’s space without wobble.

Grain is not noise for noise’s sake.

It’s a very low-level textural component designed to give the contribution micro-movement and density, especially when the signal is otherwise very clean or static.

Think of it as a subtle binding agent.
It helps the reinforced structure feel more physical, more continuous, less clinical.

You usually don’t “hear” Grain as a sound.
You feel it as cohesion, especially on sustained material, pads, vocals, or full mixes.

If you bypass it, the sound doesn’t collapse.
It just feels slightly less alive.

That’s the right amount.

A tilt EQ shifts the spectrum by boosting highs while cutting lows, or vice versa. It’s a static slope.

Focus doesn’t work that way.

Focus redistributes where attention goes, not how loud parts of the spectrum are.

When you turn Focus, you’re changing how energy is weighted between the lower and upper pressure points of the fixed filter bank. You’re not boosting one side and cutting the other, you’re shifting emphasis.

That’s why Focus doesn’t feel like “brighter” or “darker” in the usual sense.
It feels more like the sound steps forward or settles back.

It’s a perceptual control, not a tonal one.