Dynamic Equalizers, Part Two: Spectrum Matching with MAutoDynamicEQ

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In the previous installment, we dove deep into Meldaproduction’s MDynamicEQ dynamic equalizer. This time, we’ll tackle the subject of spectrum matching using MDynamicEQ’s big brother, MAutoDynamicEQ.

by David Townsend, July 2014

In the previous installment, we dove deep into MDynamicEQ, the dynamic equalizer from Meldaproduction. This time, we’ll tackle the subject of spectrum matching, specifically via MDynamicEQ’s big brother, MAutoDynamicEQ. We’ll also list a few other products that offer similar functionality.


MAutoDynamicEQ

MAutoDynamicEQ ($135) offers all the same features as MDynamicEQ plus one very cool additional trick – the “Auto” part of MAutoDynamicEQ, short for “auto-configuration”. This neat feature allows you to quickly and easily configure filters to match an arbitrary internal or external reference, a process known generically as “spectrum-matching”, “EQ-matching” or “EQ ripping”.

Equally interesting is its ability to do the mirror opposite of spectrum matching: complementary EQ, an example of which will be given later on.

Because MAutoDynamicEQ’s features are a superset of MDynamicEQ, refer to Part One of this series for information about its basic operation. All of the many features and techniques described there also apply to MAutoDynamicEQ.  Both offer 14 types of highly-configurable dynamic filters with slopes up to 120 dB/octave. Either can be used for compression, expansion and static filtering, and both feature the same helpful graphical animations. MAutoDynamicEQ raises the maximum number of nodes from 5 to 7, but otherwise the filters are identical to those in MDynamicEQ.


Spectrum Matching

Spectrum matching means setting up complex filter arrangements in order to make the frequency composition of one track match the spectral signature of some reference track.

Let’s say you record a vocal on Monday and don’t notice until Saturday that there was an un-editable mistake in the performance, such as flubbed lyric or line of dialog. You’re going to have to bring the artist back in for another take next week.

But now the microphone isn’t in the exact same place, there are now amps, drums and gobos in the room that weren’t there for the first take. The singer’s voice doesn’t sound exactly the same, and you forgot to write down the settings you used on the channel strip. Maybe you don’t even know which microphone was used, e.g. you’ve got six SM-58s in the locker and all you know is it was one of them.

The challenge now is to make the new take sound like it belongs with last week’s take. What you’ll have to do is EQ the new track so that it sounds more like the previous tracks. Sounds easy enough, but in practice this can be fiddly and time-consuming without a spectrum-matching plugin to help automate the process.  With a tool such as MAutoDynamicEQ to perform the analyses and configure the filters, a potentially complex operation becomes trivially easy to do. You’ll just take a spectral snapshot of the previous track and let the spectrum-matching plugin equalize the new track to match.


What Spectrum-Matching Won’t Do

The subject of EQ matching is a little controversial, partly because some engineers resent the suggestion that software can do what’s taken them years to learn. But it’s also because some vendors have oversold the concept and exaggerated its benefits.

A novice might be misled into thinking that a spectral map derived from his favorite commercial record could be applied to his own mix and voila! Instant professional EQ! Unfortunately, it doesn’t work quite that way.

In order for two full mixes to sound the same, they’d have to have the same instrumentation, same effects, same panning, same everything. EQ cannot insert anything new into the mix. It can only accentuate or attenuate what’s already there. Sorry, but you are not going to be able to skip straight to your Grammy™ by borrowing someone else’s EQ decisions.

However, this is not to say there is no benefit to spectrum-matching full mixes. After analyzing a reference recording, a spectrum-matching plugin will show you a suggested filter configuration to match your song to that reference. Examining this curve can be informative, even if you don’t actually use it. For example, if your overall bass levels are too high compared to the reference (a common problem in home studios) this will become glaringly obvious when you are presented with the suggested corrections.

And sometimes, you’ll get lucky – simply applying the suggested EQ might just bring your mix to life! I always give the suggested corrections a listen, even if my reaction is to grimace and dive for the undo key.


Spectral Matching with MAutoDynamicEQ

Now that we have an idea of what spectrum matching might (or might not) accomplish, let’s see it in action.

For our first example, we’ll use the previously-described scenario in which the objective is to match the tone from two different vocal takes. In this case, the reference is a previously-recorded track within the same project as the new take.

The equalizer will ultimately be inserted into the newly-recorded track, and an EQ curve applied to it based on an analysis of the reference track. We’ll abbreviate the two tracks as “Vox1” and “Vox2”. Vox1 is the previous track that’ll be our reference, and Vox2 is the new track that we’ll be applying equalization to.

There are two important terms that are used by all spectrum matching plugins: Source and Target. “Source” refers to the reference track, the source of our spectral information. “Target” refers to the track that we’ll be applying EQ to, in order to match the Source. In our example, Vox1 is the Source and Vox2 is the Target.

I should preface the walkthrough by saying there is more than one way to do what we’re about to do, but I am only going to show you one of them. The following method works exactly the same on any DAW, which is one reason I chose these specific steps for this article. The procedure might seem a bit complicated the first time through, but if you follow along step by step you can’t go wrong.


Step One: Analyze the Source (Reference)

We’re going to start by generating a reference spectrum by analyzing Vox1. To do that, we’ll insert an instance of MAutoDynamicEQ into the FX bin for Vox1. We won’t be performing any equalization with it, though. The sole purpose of this instance is to just perform the analysis. After that, we won’t need the plugin anymore on Vox1.

The analysis buttons are on a hidden panel labeled “Automatic Equalizer”. To show it, click on the little button in the lower-right corner (circled in the screenshot below):

This opens the automatic equalizer panel, revealing two new buttons: Analyze Source and Analyze Target.  Note that only the Analyze Source button is initially enabled. The Analyze Target button will not become available until after we’ve analyzed the source. The two other barely-visible and disabled buttons will remain grayed-out until we’ve completed our analyses of both source and target.

Simply start playback and, when the vocal starts, click on the “Analyze Source” button. You can let it run for the full duration of the track, but in practice only a few seconds are necessary to capture a snapshot of the spectral fingerprint. Just don’t cut it so short that the analyzed portion isn’t representative of the larger track. Click the Analyze Source button again to stop the analysis.

After stopping the analysis, a red curve will be displayed. This shows the average frequency response for the sampled portion of the reference track.

 


Step Two: Analyze the Target

We are now finished with the plugin on Vox1, so we can simply drag it down to the Vox2 track for the next step. The reference curve will remain in place after dragging the plugin to another track.

With the plugin now inserted into the target track, start playback as before. But this time when the vocal starts, click on the “Analyze Target” button. Let a few seconds of the track play and then click “Analyze Target” again to stop the analysis.

After the target analysis has completed, we’ll see that a second curve has been added to the display, this one in blue. That’s the frequency response for Vox2. We can now easily see the differences that exist between the two tracks.

Note that the two curves have been normalized so that even if the source and target tracks have different levels we can easily see the relevant frequency differences. The normalization feature will come in handy later, when we walk through equalizing a full mix based on a commercial (mastered) recording. Normalizing is optional, and may be turned off for situations where absolute levels are important. For this example, though, we’re more interested in relative levels rather than absolute levels.

At this point, no filters have yet been configured. All we have is a picture of what Vox2 looks like now. Note that two new buttons have now been added to the Automatic Equalizer panel, labeled “Equalize” and “Separate”.

 


Step Three: Configure the Filters

Now it’s a simple matter of clicking the “Equalize” button to automatically configure the filters so that the target (Vox2) matches the tone of the source (Vox1):

 

This shows us what the plugin thinks are the ideal EQ corrections for matching the two tracks.

However, I’m going to take issue with the leftmost filter, which is adding 20 dB of gain to very low frequencies. This isn’t an appropriate suggestion. The plugin doesn’t know that this is a vocal track, doesn’t know that there’s very little below around 150 Hz that I care about, and doesn’t know that those low frequencies in Vox1 are just unwanted rumble.

This is not a problem, though. I’ll simply double-click on that first filter to disable it.

That’s better. Now there is just one more step remaining: listen to the corrections and see if they’re too much.


Step Four: Dial it Back to Taste

The analyzer assumes you want to achieve an exact match, but that isn’t always the case, so often the suggested corrections are too extreme. Fortunately, it’s very easy to lower the intensity of the filtering using the “Dry/wet” slider at the upper-left of the display.

Moving the Dry/wet value up and down lets me audition various degrees of matching, from none to full and anything in between, until I settle on just how much correction sounds right.

Note that this parameter is not a true wet/dry mix control in the conventional sense. An actual wet/dry mix would sound awful on an equalizer due to phase shifts between the dry and effected versions, which is why equalizers generally do not have them. On this, and all other Meldaproduction equalizers, the “Dry/wet” control instead reduces the intensity of the filters to reduce the overall effect.

I’ve also used this technique to match up double-tracked parts. It helps to tighten up unison overdubs as well as harmonies, helping to achieve a better blend of voices. This technique can also be used to steal, er, borrow guitar and synth tones, as we’ll see later.


Using an External Reference

Here’s a different scenario: I want to tweak EQ on the master bus to make two adjacent songs match up better on an album. (For younger readers, “albums” were how we old folks used to buy music. They consisted of a collection of songs meant to be listened to in a particular order. Imagine an MP3 album without the shuffle option. 😉

I’ll reiterate my previous caveat, because it’s important: you can’t make two songs sound alike with spectrum-matching alone. At least, not unless they are also alike in many other ways. However, we’re only talking about minor tweaks under this scenario – just a nudge, to songs that probably do sound somewhat similar already, so it’s OK.

To accomplish this, I’ll be using an external reference, meaning a file that’s not part of my current project. I could import the reference into a track within my project and use the same procedure described earlier, but the following method is even simpler. All I have to do is insert the plugin into the master bus, import the reference (which triggers an automatic analysis of it), hit playback and click “Analyze Target”.

Start by inserting an instance of MAutoDynamicEQ into the FX bin on the master bus (you may want to disable any previously-inserted equalizers that are already in there) and open the Automatic Equalizer panel.

Click the little button next to the “Analyze Source” button and select “Analyze an audio file” from the context menu.


You’ll next be presented with a file-select dialog from which to choose the pathname to the external reference file. Select the file and give the plugin a second or two to perform the analysis. The result will be a red spectral graph, just as we saw in the previous example.

NOTE: this procedure requires loading the entire reference file into memory. If you’re short on RAM, it’s possible to crash your DAW during this step. I know, I’ve done it. If that happens, you have two options to deal with it: create a trimmed-down version of your reference file, or analyze it separately and save the analysis. I’ll show you how to save and restore analysis files later.

Now start playback and click the Analyze Target button to see how your song compares to the reference.

Since it’s neither necessary nor recommended to mimic every little bump in the curve, you’ll probably want to set the Smoothness slider around 5% to 10% for an intentionally less-precise approximation. This will usually yield more pleasing results than forcing conformance to narrow differences that aren’t audibly significant.

Click on the “Equalize” button to configure the filters.

At this point the plugin has provided you with suggested adjustments to make your track match the reference. You don’t need to follow those suggestions! You can modify them, tone them down, or simply use them as a guide for manually tweaking your mix.

My suggestion is to listen to the automatic settings while slowly backing them off to zero using the “Dry/wet” slider. Let your ears tell you if the plugin’s suggestions are going to work or not.

If the plugin suggests very narrow boosts or cuts, try increasing the Smoothness slider and then click “Equalize” again.

If the plugin suggests very large boosts or cuts, your best strategy may be to revisit the mix and figure out which tracks are throwing the spectral balance so out of whack. Remember that an equalizer cannot add anything that isn’t already in the mix, so if it thinks you need a 20 dB boost above 8 KHz chances are you just don’t have enough going on up there to begin with. Maybe it’s time to throw in a tambourine.


Stealing a Guitar Tone

Here’s another application for spectral matching: stealing distorted guitar tone from another recording. Let’s say you’re trying to match the tone of your favorite guitarist. You can get close, but can’t quite duplicate the tone exactly. This can be a great application for spectrum matching, because the closer two tracks already are to one another, the better spectrum matching works.

If it’s your own project, you can simply solo the track and follow the vocal-matching procedure described previously. But if your reference is a commercial record, the trick will be finding a snippet of the guitar in isolation to analyze.  

Fortunately, many songs’ opening riffs often do feature rhythm guitar alone, providing you with a convenient source to analyze. Typically, it’ll be double-tracked, so pan your reference fully left or right before snagging your sample. The analysis will be more accurate for a mono track than for wide stereo.

The easiest way to extract the sample is to import the reference song into your DAW and trim it down to just the bit you’re going to analyze. Insert an instance of MAutoDynamicEQ on the imported track, click the “Analyze Source” button, drag the plugin to your guitar track and click “Analyze Target” followed by the “Equalize” button.

Now, if you try this and are disappointed by the result, let me reiterate this important caveat for all types of spectrum-matching: it works best when the source and target are already pretty close. Some EQ trickery is NOT going to make your clean Strat suddenly sound like Billy Gibbons’ Les Paul. But it might get reasonably close to Clapton or Knopfler.


Complementary EQ: The Opposite of Spectrum-Matching

You probably noticed the fourth button in the Automatic Equalizer panel, labeled “Separate”. This is a rare feature among spectral-matching products, being available in only one other plugin that I know of (Nugen Audio’s SEQ-S). It reverses the filter settings so that the target is made to be more unlike the source. You could call it spectrum un-matching, spectral de-correlation or spectral separation.

Why emphasize differences between tracks? There are two common scenarios: carving out spectral spaces for instruments in order to improve mix clarity, and increasing the perceived width of the mix by accentuating left-right differences. Let’s walk through an example scenario for the latter case.

Let’s say we’ve got a double-tracked rhythm guitar part, with the two tracks panned apart in the traditional manner. This gives a nice wide sound, but we want to go even wider.

Width is all about left-right differences. The standard method for achieving big width is to record the two guitar parts using different guitars, amplifiers, microphone positions and tone settings. But what if you only own one guitar and one amp? Or maybe you don’t even have either, and are using only sampled guitars and amp sims.  In that case, you need to get creative in manufacturing some left-right differences. For that, the first tool to reach for is an equalizer. (Yes, even before the usual Haas-effect delay.)

Insert an instance of MAutoDynamicEQ into each of the two guitar tracks. Start playback and click the Analyze Source buttons on each of them. Let it play for a few seconds and then click the button again to stop the analyses. This will result in TWO references, one for each track.

Now here’s the twist: simply swap the two plugins. Drag the left guitar’s equalizer plugin into the right guitar’s FX bin and vice versa. Start playback again and this time click the “Analyze Target” buttons on each of the equalizers.  After stopping the analyses, click the “Separate” button on each plugin.

The filters have now configured themselves to exaggerate whatever spectral differences already existed between the two tracks. Adjust the “Dry/wet” slider to get the right amount of exaggeration to make the guitars sound wide without thinning either one out too much.

Rhythm guitar tracks work well for this trick, whether clean acoustic or distorted electric guitars, but synth pads and string sections can also be candidates. Anything that’s broad-spectrum, really. Experiment! Try it on double-tracked unison vocals, too (but gently).


Complementary EQ for Tone Carving

The same technique can work for mitigating masking effects, such as conflicts between kick drum and bass guitar.  But that’s pretty mundane and there are lots of other ways to deal with kick and bass contention. Let’s instead look at another problem that isn’t so easily solved: conflicts between two broad-spectrum instruments.

Let’s suppose we have a lush synth pad playing under a piano. The problem is that the piano is getting lost in the pad unless it’s turned up impractically loud. EQ seems the logical solution, but we don’t want to thin out either track excessively.

Complementary EQ via spectrum-un-matching will allow us to carve a spectral niche out of the pad for the piano, while retaining as much of the pad’s fullness as possible. The piano will become more distinct in the mix without turning up the volume because it’s no longer being masked by the pad.

In this scenario, the piano is our Source and the synth pad is the Target, because it’ll be the pad that gets filtered, based on the piano as reference.  We want the piano to be full-spectrum and make the pad give up some frequencies to make room for the piano.

Insert an instance of MAutoDynamicEQ into the piano track and analyze it. Drag the plugin over to the pad, analyze it, and click “Separate”. As with the other examples, experiment with the “Dry/wet” slider until you get the right amount of the effect.


Saving and Restoring Analyses

Spectral analyses may be saved as separate files. Not having to actually store full wave files makes it more convenient to build a collection of references, or to email a reference to collaborators. 

In addition to saving your own analysis files for future reference, MAutoDynamicEQ also comes with a built-in collection of references for various musical styles plus white and pink noise profiles. For example, you could load an analysis of Led Zeppelin’s Stairway to Heaven and compare it to your own song, or even apply spectrum matching to mimic it.

To load an analysis, choose “Load” from the dropdown menu under the Analyze button.

 

Bundled analysis files are organized by genre.

It can be fun and informative just to pull up analyses for some familiar songs and have a look at them. These will be especially helpful if you’re ever asked to mix an unfamiliar genre. There are also graphs for individual percussion instruments such as kicks and toms.


Saving an Analysis File

To save an analysis of your own, choose “Save” from the dropdown menu under the Analyze button.

Analysis files are saved with an extension of .MAutoEqComparison. They are binary files, so you can’t edit them. If you want to back them up or send them to someone, they’re a little hard to find. By default, they are stored in the following locations:

  • Windows XP/Vista:

c:\documents and settings\{UserName}\Application Data\Meldaproduction\MAutoEqualizer\Comparisons

  • Windows 7/8: c:\users\{UserName}\appdata\roaming\Meldaproduction\MAutoEqualizer\Comparisons
  • Mac: ~/Library/Application support/MeldaProduction


Drawing Your Own Curve

You can even draw your own curves with MAutoDynamicEQ. From the Analyze menu, select “Draw”.

Curves are created by inserting line segments and adjusting the pivot points between them.

  • Double-click on a line segment to insert a new adjustment point.
  • Double-click on an existing point to delete it.
  • Right-click to bring up a menu of options, including a collection of predefined line shapes.

To finalize your hand-made curve, bring up the menu again and select “Finish Drawing”. It will then be translated into the familiar red graph that can be used the same way as a calculated analysis, to either match the drawn spectrum or to create a mirror image of it.


Lastly, Don’t Forget the Manual Option

Before closing we should also mention the manual option that always exists as an alternative to employing fancy processors. Helpful as tools such as MAutoDynamicEQ are, let’s not forget that audio engineers somehow managed to accomplish these things for many years without the help of any software. With practice, you can, too.

No matter how well-trained your ears are, how skilled you are at picking out frequencies, even if you’ve achieved the rank of 9th-level audio ninja I would still recommend using a spectrum analyzer as a visual aid.

Ideally, you’d have access to a multi-channel analyzer. That’s a spectrum analyzer that can display spectra from multiple tracks, overlaid on the same screen. This makes it very easy to compare two graphs. Some good choices include Voxengo’s SPAN Plus ($49.95), Meldaproduction’s MMultiAnalyzer ($80), and Blue Cat Audio’s FreqAnalyst Multi ($99).  Links are provided at the end of this article.

Fortunately for us cheapskates and po’ folk, there are also some great free analyzers. These are single-channel analyzers, though, so you’ll need two instances to monitor and compare two tracks. My favorite freebies are SPAN from Voxengo and MAnalyzer from Meldaproduction (part of the free bundle).  Both are excellent, both are free, and one or the other should definitely be in your toolkit unless you happen to have something fancier on hand.

Whether using single-channel or multi-channel analyzers, I recommend setting the analyzer for a slow, smoothed and averaged display.  Here are my preferred spectrum-comparison settings for SPAN and MAnalyzer:

Voxengo SPAN

  • Click the EDIT button
  • Under “Type”, choose “AVG”
  • Click on the “FILLED DISPLAY” button to turn that feature off
  • Click the Smoothing button and choose “1 OCT”
  • With the reference track playing, adjust the Slope knob until the displayed spectrum takes on a more-or-less horizontal shape. Note the slope value so you can duplicate it in the other track’s SPAN instance.

Meldaproduction MAnalyzer

  • Turn the “Smoothness” knob to 10%
  • Click on the Settings button at the top of the display
  • Under Appearance, click on “Average (infinite)” to turn it on, and turn off the other four modes
  • Click on the “Fill Interior” option to turn it off.
  • Start playback and move the Slope slider until the spectrum display becomes more-or-less horizontal

Import your external reference into a new audio track in the current project and insert an instance of the analyzer into its FX bin. Solo it, let it play for a while, and then freeze the display. In SPAN, click the HOLD button. In MAnalyzer, click the Pause  button.

Now you have a picture of the reference to use as a guide for manually configuring your project’s master bus EQ.

Next, duplicate the analyzer in the master bus FX bin and place it after an equalizer. Shorten the averaging time to around 2 seconds on this instance. Now it’s a simple (hah!) matter of tweaking filters until the two analyzers’ displays match up. Good luck!

Note: you may be wondering why the two screenshots above show different levels. It’s because of MAnalyzer’s handy normalize feature, which unfortunately neither SPAN nor SPAN Pro offers at this time.


Other Spectrum-Matching Products

MAutoDynamicEQ is über-slick and easy to use, and is my personal favorite because it’s the only plugin I know of that combines spectrum matching with dynamic equalization.  However, it’s not the only product out there that can pull off the spectrum-matching trick. Even within Meldaproduction’s own product line you’ll also find MAutoEqualizer ($204), which is essentially MAutoDynamicEQ without the dynamic features (but with a linear-phase option added).

iZotope Ozone ($249 / $999) has had spectrum-matching for years.  The nicest feature of Ozone’s implementation is the ability to save, display and/or match 8 different external references and overlay one or more of them atop the paragraphic equalizer. Negatives: No easy way to import a track within the current project and use it as a reference. Small, non-resizable display, except in the more-expensive advanced edition. No way to name the 8 references. Ozone is a bit heavy on the CPU for use on multiple tracks. (But really, you get Ozone for its fantastic limiter, right? The EQ and other features are a bonus.)

Voxengo’s CurveEQ ($89.95) offers similar spectrum-matching functionality to MAutoDynamicEQ (but isn’t dynamic) and is comparably priced.  In addition to its spectrum-matching capability, it’s also an excellent general-purpose static equalizer. It supports drawing in arbitrary curves, can be operated in either minimum-phase or linear-phase mode, and offers the same spectral display as the popular SPAN analyzer. The recent update (to version 3.3) significantly improves CPU efficiency and adds minor improvements for copying spectral curves.  If you’re a Cubase user, you may already have this plugin, as it’s bundled with Cubase 7.

FreEq Boy from Elevayta ($29.95) is the least-expensive spectrum matching equalizer that I know of. According to the vendor, it can “capture, store, merge and apply EQ curves from different audio sources”, and supports freehand drawing. You can capture and display up to four EQ curves.

The standalone processor Har-Bal ($125) adds a limiter and “air” enhancer to make it more of a full-service mastering tool. What makes Har-Bal unique is its automatic correction feature, which takes a stab at suggesting EQ changes without consulting a specific reference. It’s hit-and-miss, though. The program does much better when matching to a reference. The downside to Har-Bal is that it’s a standalone program, not a plugin.

A recent entry into the field is Euphonia (79 €) from tb-software. In addition to conventional spectrum-matching, Euphonia also offers a simpler approach by suggesting EQ curves based on built-in references for specific musical genres. It’s a new product, still at 1-point-something, but it’ll be interesting to watch it evolve.

Another brand-new product is SEQ-S from Nugen Audio ($249, iLok optional) is described as a “spline match EQ”. “Spline” means you can draw an arbitrary curve and the plugin will configure the filters to match it. This product seems to have all the bases covered; there is an invert function similar to MAutoDynamicEQ’s “Separate” feature, and 5.1 / 7.1 surround are supported.

The Dynamic Spectrum Mapper from Pro Audio DSP ($329 + iLok) isn’t actually a spectrum-matcher, but rather a spectral compressor (the vendor uses the term “Prismatic Compressor”).  A spectral compressor is related to, but different from, a dynamic equalizer.  This one does have the ability to capture and match spectra, but by a process of compression rather than parametric filtering. In this regard, Dynamic Spectrum Mapper straddles both the EQ-matching and spectral compression worlds.  It also features a mastering limiter.

Another product that combines spectral compression with spectrum matching is Magic Spectrum from DUY Software ($399 + iLok). Like MAutoDynamicEQ, Magic Spectrum comes bundled with a collection of spectral curves from well-known recordings in multiple genres, as well as allowing you to spectrum-match either tracks or external files.

And speaking of spectral compression, watch for the next installment of this series, in which we’ll be dissecting what that term really means, and taking a close look at some extremely cool plugins that do it.


Links to All Products Mentioned in this Article

Meldaproduction MDynamicEQ: http://www.meldaproduction.com/plugins/product.php?id=MDynamicEq

Meldaproduction MMultiAnalyzer: http://www.meldaproduction.com/plugins/product.php?id=MMultiAnalyzer

Meldaproduction free bundle (includes MAnalyzer): http://www.meldaproduction.com/plugins/product.php?id=MFreeEffectsBundle

Meldaproduction MSpectralDynamics: http://www.meldaproduction.com/plugins/product.php?id=MSpectralDynamics

Blue Cat Audio FreqAnalyst Multi: http://www.bluecataudio.com/Products/Product_FreqAnalystMulti/

Blue Cat Audio FreqAnalyst free: http://www.bluecataudio.com/Products/Product_FreqAnalyst/

iZotope Ozone 5: https://www.izotope.com/en/products/mixing-mastering/ozone/

Pro Audio DSP Dynamic Spectrum Mapper: https://www.izotope.com/en/products/mixing-mastering/ozone/

tb-software Euphonia: http://www.tb-software.com/TBProAudio/euphonia.html

DUY Magic Spectrum: https://www.duystore.com/com/mspec-what.html

Nugen Audio SEQ-S: http://www.nugenaudio.com/productdetails.php?pid=22

Voxengo CurveEQ: http://www.voxengo.com/product/curveeq/

Voxengo SPAN free: http://www.www.voxengo.com/product/span/

Voxengo SPAN Plus: http://www.voxengo.com/product/spanplus/

Voxengo Soniformer: http://www.voxengo.com/product/soniformer/

 

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