Are there any spectral flattening plugins like melda soectral dynamics? Some hidden gems maybe?

 

I haven't used the Melda one, so apologies if I'm barking up the wrong tree, but I use Unfiltered Audio SpecOps for these kind of things. Like all UA plugins it's a bit quirky and you have to get used to their modulation system, but it can flatten all frequencies if wanted but it does a lot more besides.

 

Voxengo TEOTE --> www.voxengo.com/product/teote/

www.plugin-alliance.com/en/products/pro_audio_dsp_dsm_v3.html
www.zynaptiq.com/intensity/

 

What exactly do you need it to do? There are very many plugins in the 'automatic spectral balancing' category with various degrees of control and features.

Waves IDX, Waves Curve AQ, Ozone Clarity, Zynaptiq Balance, Neutron Sculptor, FireCharger (= Melda DSP?), Gulfoss, soothe, DSEQ, ...

Or just get SpecComp if you want max control.

 

I would like to obtain a certain equalization curve dynamically, as if it were a multiband compressor but more precise. the dynamic equalizer often adapts poorly to the material and requires many adjustments.

the problem with this kind of tools is that they are often not very transparent or cause pumping or are too "soft". for now only the melda has given me quite good results without excessive pumping and then it allows you to subtract like a multiband compressor that behaves as an eq ... for this reason I wonder if there are other similar plugins

 

HoRNet ThirtyOne MK2
You can set your own target curve and the plugin dynamically adjusts the incoming signal to fit that curve. It makes wonders evening the sound.
Set Auto EQ Mode to Continuous, Algorithm to Median, Compensation to Custom (you need to set your EQ curve first). You can use the default (flat) curve, but this will usually eat basses and exagerate highs.

 

Using in subtraction only it's not quite effective in "matching" the curve, or you know how to set it up effectively?

 

Zynaptiq Balance

 

I have to ask the AI:

Spoiler: Source: Grok KI

Voxengo TEOTE is a powerful automatic spectral balancer, but using it in "subtraction only" mode (often referred to as "down-only" mode) can indeed feel less effective for precisely matching a target curve due to its design focus on dynamic spectral balancing rather than static EQ matching. In down-only mode, TEOTE only reduces gain in frequency bands that exceed the target spectral profile, which limits its ability to fully shape the audio to match a curve if boosting is also required. However, with careful setup, you can optimize its performance for better curve-matching results in this mode. Below, I’ll explain how to set it up effectively and address potential limitations.

Key Considerations for Subtraction-Only Mode

• Purpose of Down-Only Mode: This mode is primarily for taming resonances, de-essing, or reducing problematic frequencies without boosting others, which helps maintain a natural sound and avoids over-emphasizing unwanted elements (e.g., noise in quieter bands). It’s not designed for aggressive curve matching like a static EQ or a fully dynamic EQ with both boost and cut.
• Dynamic Nature: TEOTE’s processing is based on multi-band dynamics, meaning it adjusts gain dynamically over time based on the input signal’s spectral content. This can make it less precise for static curve matching compared to tools like FabFilter Pro-Q 3 with match EQ functionality.
• Spectral Profile: TEOTE tries to align the audio with a specified spectral profile (defaulting to a modern mastering curve with a -4.5 dB/octave slope, similar to pink noise). In down-only mode, it only attenuates frequencies that deviate above this profile, so the result may not fully match if the input signal lacks energy in certain bands.

Steps to Set Up TEOTE Effectively in Subtraction-Only Mode
To maximize TEOTE’s effectiveness in down-only mode for curve matching, follow these steps:

1. Enable Down-Only Mode:
   • In TEOTE’s interface, locate the “Boost T” (Boost Type) selector. Set it to “Down” to restrict processing to subtraction only. This ensures TEOTE only reduces gain in frequency bands that exceed the target spectral profile.
2. Adjust the Spectral Profile:
   • TEOTE’s default spectral slope is -4.5 dB/octave, which may not suit your target curve. Adjust the “Slope” parameter to align with the desired tonal balance (e.g., flatter for a neutral mix or steeper for a warmer sound).
   • Use the “Apply to Range” feature to limit processing to specific frequency bands (e.g., 100 Hz to 10 kHz) if you’re targeting a particular region. This prevents TEOTE from over-correcting outside your focus area.
   • If you have a reference track, analyze its spectral profile using Voxengo SPAN (a free plugin) and adjust TEOTE’s slope to approximate the reference’s curve. While TEOTE doesn’t have a direct “match EQ” feature, this manual approach can get you closer.
3. Set the Band Count:
   • Increase the number of processing bands (up to 64) for finer resolution. More bands allow TEOTE to target specific frequencies more precisely, which is crucial for curve matching. However, higher band counts increase CPU usage, so balance this with your system’s capabilities.
   • For general mixing, 16–32 bands are often sufficient, but for mastering or precise resonance taming, try 48–64 bands.
4. Tweak Dynamics Parameters:
   • Base Atk (Attack) and Base Rls (Release): Set shorter attack (e.g., 25–50 ms) and release times (e.g., 50–100 ms) for faster response to transient-heavy material. For smoother material, use longer times (e.g., 100–200 ms attack, 200–500 ms release) to avoid pumping.
   • Response Mode: Choose a mode like “Balanced” or “Controlled” for more consistent loudness estimation, which helps TEOTE apply reductions more predictably. “Fluid” modes are gentler but may be less precise for curve matching.
   • Hi Timing: Adjust this to fine-tune how TEOTE handles high frequencies. A lower ratio (e.g., 1:20) can make high-frequency reductions more responsive.
5. Limit Gain Reduction:
   • Use the “FX” (effect amount) slider to control the intensity of TEOTE’s processing. Start at 50–75% and adjust to taste. Lower values (e.g., 25–50%) can make the effect subtler and prevent over-compression of dynamics.
   • Set a gain reduction limit (e.g., 2–3 dB) via the “Range” parameter to avoid excessive attenuation, which can make the audio sound unnatural or overly flat. This is especially useful in down-only mode to keep reductions subtle.
6. Monitor and Compare:
   • Use TEOTE’s multi-band gain adjustments meter to visualize where reductions are applied. This helps confirm whether the plugin is targeting the right frequencies.
   • Enable A/B comparisons to toggle between processed and unprocessed audio. This is critical for assessing how closely the output matches your target curve.
   • Bypass TEOTE periodically to ensure the reductions aren’t overly aggressive, as down-only mode can sometimes dull the audio if overused.
7. Oversampling:
   • Enable up to 8x oversampling for higher precision, especially when mastering. This reduces aliasing and improves clarity but increases CPU load. Use the “Auto Oversampling on Render” option for efficiency during final bounces.
8. Placement in the Signal Chain:
   • For mixing, place TEOTE early in the chain (e.g., after corrective EQ) to tame resonances before compression or saturation. For mastering, place it after a compressor but before a limiter to smooth the spectral balance.
   • If using on individual tracks, apply it to problematic sources (e.g., vocals, guitars) to reduce harshness or resonances before bus processing.

Tips for Better Curve Matching

• Combine with Static EQ: Since down-only mode only cuts, use a static EQ (e.g., Voxengo CurveEQ) before or after TEOTE to apply boosts where needed. For example, if TEOTE cuts harsh mids but the audio still lacks brightness, boost highs with a static EQ.
• Reference Track Comparison: Load a reference track in your DAW and use a spectrum analyzer (like Voxengo SPAN) to compare the processed audio’s curve to the reference. Adjust TEOTE’s slope and range parameters to minimize differences.
• Preset Exploration: Start with presets like “Mix General” or “Mastering” and tweak from there. Presets can provide a useful starting point for aligning with common spectral profiles.
• Room Dip Adjustment: If your monitoring environment has frequency dips, use the “Room Dip” parameter to compensate, ensuring TEOTE’s reductions align with what you hear. However, the manual is vague on this feature, so experiment and trust your ears.

Limitations and Workarounds

• Limited Boost Capability: Down-only mode inherently can’t boost frequencies, so it won’t fully match a curve requiring significant boosts. To address this, use a separate EQ plugin for boosting or switch TEOTE to “Full” mode (allowing both boost and cut) if the goal is precise matching.
• Dynamic Processing: TEOTE’s dynamic nature means it adjusts based on the input signal’s real-time spectral content, which may not yield a static curve match. For static matching, consider a dedicated match EQ plugin like iZotope Ozone’s EQ Match or FabFilter Pro-Q 3.
• CPU Usage: High band counts and oversampling can strain your CPU. If performance is an issue, reduce bands to 16–32 or disable oversampling during mixing, enabling it only for rendering.
• Subtle Effect: TEOTE’s reductions in down-only mode are often subtle, which can feel underwhelming if you expect dramatic curve matching. Focus on its strength—gentle resonance taming—and pair it with other tools for comprehensive shaping.

Alternative Approaches
If TEOTE in down-only mode isn’t effective enough for your curve-matching needs, consider these alternatives:

• Voxengo CurveEQ: A spline-based EQ with spectrum matching capabilities, ideal for static curve matching. Use it alongside TEOTE for dynamic taming plus static shaping.
• FabFilter Pro-Q 3: Offers a match EQ feature that captures a reference track’s spectrum and applies both boosts and cuts statically or dynamically.
• iZotope Ozone EQ: Includes a match EQ module for precise curve matching, especially useful in mastering.
• Gullfoss or DSEQ: These are similar dynamic spectral balancers but may allow more flexible boost/cut behavior. Users note TEOTE is gentler than Gullfoss and faster to use than DSEQ, but less detailed.

Conclusion
In subtraction-only mode, Voxengo TEOTE is best suited for taming excessive frequencies to approach a target spectral profile, but it’s not ideal for precise curve matching due to its lack of boosting and dynamic processing nature. To set it up effectively, use a high band count (48–64), adjust the slope to match your target curve, limit gain reduction to 2–3 dB, and fine-tune dynamics parameters like attack/release and response mode. Combine TEOTE with a static EQ for boosts or use a dedicated match EQ plugin if static matching is critical. Experiment with presets and reference tracks to dial in the desired balance, and always A/B compare to ensure natural results. For further details, check the demo and manual at https://www.voxengo.com/product/teote/.[](https://www.voxengo.com/press/voxengo-teote-1-13-automatic-spectral-balancer-plugin-released-474/)

If you have specific material (e.g., vocals, full mix) or a target curve in mind, let me know, and I can tailor the setup further!

 

Now that you've explained your needs then I can pretty much say that SpecOps is not the one you're looking for. It's definitely not a tool for subtle anything.

 

You can do subtle stuff with SpecOps if needed.

But if you're thinking subtle, you probably don't drag SpecOps in the first place