MFreeformEqualizer Equalizer Plug in

Product Information

Specifications

• Product Name: MFreeformEqualizer

• Features: Presets, Randomize, Panic, Settings, WWW, Sleep
  Indicator, Plugin Toolbar, Oversampling

• Compatibility: Works with all major DAWs

Product Usage Instructions

Presets

The MFreeformEqualizer comes with a number of presets that you
can easily load using the left and right arrow buttons. The left
arrow button loads the previous preset, while the right arrow
button loads the next preset.

Randomize

The randomize button loads a random preset, giving you the
ability to experiment with different settings and find new sounds
quickly.

Panic

The panic button resets the plugin state. This is useful if you
are experiencing audio problems or want to force the plugin to
report latency to the host again. It can help resolve issues caused
by plugins with a look-ahead feature that report the size of the
look-ahead delay as latency.

Settings

The settings button opens a menu with additional settings for
the plugin. Here is a brief description of the separate items:

• Licence Manager: Activate/deactivate the plugins and manage
  subscriptions easily. You can also drag and drop a license file
  onto the plugin for activation.

• GUI & Style: Pick the GUI style for the plugin and
  customize the colors used for various elements.

• Advanced Settings: Configure processing options for the
  plugin.

• Global System Settings: Change settings that affect all
  MeldaProduction plugins. Restart your DAW if needed for the changes
  to take effect.

• Dry/Wet Affects: Control which multiband parameters are
  affected by the Global dry/wet control.

• Smart Interpolation: Adjust the interpolation algorithm used
  when changing parameter values.

WWW

The WWW button opens a menu with additional information about
the plugin. You can check for updates, access support, visit the
MeldaProduction web page, watch video tutorials, and connect with
MeldaProduction on social media platforms like Facebook, Twitter,
and YouTube.

Sleep Indicator

The sleep indicator informs you whether the plugin is currently
active or in sleep mode. The plugin can automatically switch itself
off to save CPU when there is no input signal and it cannot produce
any signal on its own. You can disable this feature in the Settings
menu.

Plugin Toolbar

The plugin toolbar provides global features and presets labeled
A to H. These features allow you to control and customize the
plugin’s behavior.

Oversampling

The plugin implements a high-quality oversampling algorithm to
improve audio quality. The process involves upsampling the audio
material to a higher sampling rate, performing processing, and then
downsampling it back to the original sampling rate. This helps
prevent aliasing and improves the overall sound.

Note that oversampling has some disadvantages: it induces
latency (especially in high-quality mode) and requires more CPU
power for processing.

FAQ

Q: Can I use MFreeformEqualizer with any DAW?

A: Yes, MFreeformEqualizer is compatible with all major
DAWs.

Q: How do I activate/deactivate the plugins and manage

subscriptions?

A: You can use the License Manager in the Settings menu to
activate/deactivate the plugins and manage subscriptions.
Alternatively, you can drag and drop a license file onto the plugin
for activation.

Q: How can I change the GUI style and colors of the

plugin?

A: In the Settings menu, go to GUI & Style and you can pick
the GUI style for the plugin and customize the colors used for
various elements.

Q: Does oversampling introduce latency?

A: Yes, oversampling induces latency, especially in high-quality
mode. However, you can select low-quality mode to reduce
latency.

Q: Does oversampling increase CPU usage?

A: Yes, oversampling requires more CPU power for processing.
Keep this in mind when using the plugin.

MFreeformEqualizer
Presets
Presets button shows a window with all available presets. A preset can be loaded from the preset window by double-clicking on it, selecting via the buttons or by using your keyboard. You can also manage the directory structure, store new presets, replace existing ones etc. Presets are global, so a preset saved from one project, can easily be used in another. The arrow buttons next to the preset button can be used to switch between presets easily. Holding Ctrl while pressing the button loads a random preset. There must be some presets for this feature to work of course. Presets can be backed up by 3 different methods: A) Using “Backup” and “Restore” buttons in each preset window, which produces a single archive of all presets on the computer. B) Using “Export/Import” buttons, which export a single folder of presets for one plugin. C) By saving the actual preset files, which are found in the following directories (not recommended): Windows: C:Users{username}AppDataRoamingMeldaProduction Mac OS X: /Library/Application support/MeldaProduction Files are named based on the name of the plugin like this: “{pluginname}.presets”, so for example MAutopan.presets or MDynamics.presets. If the directory cannot be found on your computer for some reason, you can just search for the particular file. Please note that prior to version 16 a different format was used and the naming was “{pluginname}presets.xml”. The plugin also supports an online preset exchange. If the computer is connected to the internet, the plugin connects to our server once a week, submits your presets and downloads new ones if available. This feature is manually maintained in order to remove generally unusable presets, so it may take some time before any submitted presets become available. This feature relies on each user so we strongly advise that any submitted presets be named and organised in the same way as the factory presets, otherwise they will be removed.
Left arrow
Left arrow button loads the previous preset.
Right arrow
Right arrow button loads the next preset.
Randomize
Randomize button loads a random preset.
Panic
Panic button resets the plugin state. You can use it to force the plugin to report latency to the host again and to avoid any audio problems. For example, some plugins, having a look-ahead feature, report the size of the look-ahead delay as latency, but it is inconvenient to do that

every time the look-ahead changes as it usually causes the playback to stop. After you tweak the latency to the correct value, just click this button to sync the track in time with the others, minimizing phasing artifacts caused by the look-ahead delay mixing with undelayed audio signals in your host. It may also be necessary to restart playback in your host. Another example is if some malfunctioning plugin generates extremely high values for the input of this plugin. A potential filter may start generating very high values as well and as a result the playback will stop. You can just click this button to reset the plugin and the playback will start again.
Settings
Settings button shows a menu with additional settings of the plugin. Here is a brief description of the separate items.
Licence manager lets you activate/deactivate the plugins and manage subscriptions. While you can simply drag & drop a licence file onto the plugin, in some cases there may be a faster way. For instance, you can enter your user account name and password and the plugin will do all the activating for you.
There are 4 groups of settings, each section has its own detailed help information: GUI & Style enables you to pick the GUI style for the plug-in and the main colours used for the background, the title bars of the windows and panels, the text and graphs area and the highlighting (used for enabled buttons, sliders, knobs etc).
Advanced settings configures several processing options for the plug-in.
Global system settings contains some settings for all MeldaProduction plugins. Once you change any of them, restart your DAW if needed, and it will affect all MeldaProduction plugins.
Dry/Wet affects determines, for Multiband plug-ins, which multiband parameters are affected by the Global dry/wet control.
Smart interpolation adjusts the interpolation algorithm used when changing parameter values; the higher the setting the higher the audio quality and the lower the chance of zippering noise, but more CPU will be used.
WWW
WWW button shows a menu with additional information about the plugin. You can check for updates, get easy access to support, MeldaProduction web page, video tutorials, Facebook/Twitter/YouTube channels and more.
Sleep indicator
Sleep indicator informs whether the plugin is currently active or in sleep mode. The plugin can automatically switch itself off to save CPU, when there is no input signal and the plugin knows it cannot produce any signal on its own and it generally makes sense. You can disable this in Settings / Intelligent sleep on silence both for individual instances and globally for all plugins on the system.
Plugin toolbar

Plugin toolbar provides some global features, A-H presets and more.
Oversampling
Oversampling can potentially improve sound quality by processing at a higher sample rate. Processors such as compressors, saturators, distortions etc., which employ nonlinear processing generate higher harmonics of the existing frequencies. If these frequencies exceed the Nyquist rate, which equals half of the sampling rate, they get mirrored back under the Nyquist rate. This is known as aliasing and is almost always considered an artifact. This is because the mirrored frequencies are no longer harmonic and sound as digital noise as this effect does not physically occur in nature. Oversampling reduces the problem by temporarily increasing the sampling rate. This moves the Nyquist frequency which in turn, diminishes the level of the aliased harmonics. Note that the point of oversampling is not to remove harmonics, we usually add them intentionally to make the signal richer, but to reduce or attenuate the harmonics with frequencies so high, that they just cannot be represented within the sampling rate.
To understand aliasing, try this experiment: Set the sampling rate in your host to 44100 Hz. Open MOscillator and select a “rectangle” or “full saw” waveform. These simple waveforms have lots of harmonics and without oversampling even they become highly aliased. Now select 16x oversampling and listen to the difference. If you again select 1x oversampling, you can hear that the audio signal gets extensively “dirty”. If you use an analyzer (MAnalyzer or MEqualizer for example), you will clearly see how, without oversampling, the plugin generates lots of inharmonic frequencies, some of them which are even below the fundamental frequency. Here is another, very extreme example to demonstrate the result of aliasing. Choose a “sine” shape and activate 16x oversampling. Now use a distortion or some saturation to process the signal. It is very probable that you will be able to hear (or at least see in the analyzer) the aliased frequencies.
The plugin implements a high-quality oversampling algorithm, which essentially works like this: First the audio material is upsampled to a higher sampling rate using a very complicated filter. It is then processed by the plugin. Further filtering is performed in order to remove any frequencies above the Nyquist rate to prevent aliasing from occurring, and then the audio gets downsampled to the original sampling rate.
Oversampling also has several disadvantages of which you should be aware before you start using it. Firstly, upsampled processing induces latency (at least in high-quality mode, although you can select low-quality directly in this popup), which is not very usable in real time applications. Secondly, oversampling also takes much more CPU power, due to both the processing being performed

at a higher sampling rate (for 16x oversampling at 44100 Hz, this equates to 706 kHz!), and the complex filtering. Finally, and most importantly, oversampling creates some artifacts of its own and for some algorithms processing at higher sampling rates can actually lower the audio quality, or at least change the sound character. Your ears should always be the final judge.
As always, use this feature ONLY if you can actually hear the difference. It is a common misconception that oversampling is a miraculous cure all that makes your audio sound better. That is absolutely not the case. Ideally, you should work in a higher sampling rate (96kHz is almost always enough), while limiting the use of oversampling to some heavily distorting processors.
Channel mode
Channel mode button shows the current processing channel mode, e.g. Left+Right (L+R) indicates the processing of left and right channels. This is the default mode for mono and stereo audio material and effectively processes the incoming signal as expected. However the plugin also provides additional modes, of which you may take advantage as described below. Mastering this feature will give you unbelievable options for controlling the stereo field.
Note that this is not relevant for mono audio tracks, because the host supplies only one input and output channel.
Left (L) mode and Right (R) mode allow the plugin to process just one channel, only the left or only the right. This feature has a number of simple uses. Equalizing only one channel allows you to fix spectral inconsistencies, when mids are lower in one channel for example. A kind of stereo expander can be produced by equalizing each side differently. Stereo expansion could also be produced by using a modulation effect, such as a vibrato or flanger, on one of these channels. Note however that the results would not be fully mono compatible.
Left and right channels can be processed separately with different settings, by creating two instances of the plugin in series, one set to ‘L’ mode and the other to ‘R’ mode. The instance in ‘L’ mode will not touch the right channel and vice versa. This approach is perfectly safe and is even advantageous, as both sides can be configured completely independently with both settings visible next to each other.
Mid (M) mode allows the plugin to process the so-called mid (or mono) signal. Any stereo signal can be transformed from left and right, to mid and side, and back again, with minimal CPU usage and no loss of audio quality. The mid channel contains the mono sum (or centre), which is the signal present in both left and right channels (in phase). The side channel contains the difference between the left and right channels, which is the “stereo” part. In ‘M mode’ the plugin performs the conversion into mid and side channels, processes mid, leaves side intact and converts the results back into the left and right channels expected by the host.
To understand what a mid signal is, consider using a simple gain feature, available in many plugins. Setting the plugin to M mode and decreasing gain, will actually lower or attenuate the mono content and the signal will appear “wider”. There must be some stereo content present, this will not work for monophonic audio material placed in stereo tracks of course. Similarly amplifying the mono content by increasing the gain, will make the mono content dominant and the stereo image will become “narrower”.
As well as a simple gain control there are various creative uses for this channel mode. Using a compressor on the mid channel can widen the stereo image, because in louder parts the mid part gets attenuated and the stereo becomes more prominent. This is a good trick to make the listener focus on an instrument whenever it is louder, because a wider stereo image makes the listener feel that the origin of the sound is closer to, or even around them. A reverb on the mid part makes the room appear thin and distant. It is a good way to make the track wide due to the existing stereo content, yet spacey and centered at the same time. Note that since this effect does not occur naturally, the result may sound artificial on its own, however it may help you fit a dominant track into a mix. An equalizer gives many possibilities – for example, the removal of frequencies that are colliding with those on another track. By processing only the mid channel you can keep the problematic frequencies in the stereo channel. This way it is possible to actually fit both tracks into the same part of the spectrum – one occupying the mid (centre) part of the signal, physically appearing further away from the listener, the other occupying the side part of the signal, appearing closer to the listener. Using various modulation effects can vary the mid signal, to make the stereo signal less correlated. This creates a wider stereo image and makes the audio appear closer to the listener.
Side (S) mode is complementary to M mode, and allows processing of only the side (stereo) part of the signal leaving the mid intact. The same techniques as described for M mode can also be applied here, giving the opposite results. Using a gain control with positive gain will increase the width of the stereo image. A compressor can attenuate the side part in louder sections making it more monophonic and centered, placing the origin a little further away and in front of the listener. A reverb may extend the stereo width and provide some natural space without affecting the mid content. This creates an interesting side-effect – the reverb gets completely cancelled out when played on a monophonic device (on a mono radio for example). With stereo processing you have much more space to place different sounds in the mix. However when the audio is played on a monophonic system it becomes too crowded, because what was originally in two channels is now in just one and mono has a very limited capability for 2D placement. Therefore getting rid of the reverb in mono may be advantageous, because it frees some space for other instruments. An equalizer can amplify some frequencies in the stereo content making them more apparent and since they psycho acoustically become closer to the listener, the listener will be focused on them. Conversely, frequencies can be removed to free space for other instruments in stereo. A saturator / exciter may make the stereo richer and more appealing by creating higher harmonics without affecting the mid channel, which could otherwise become crowded. Modulation effects can achieve the same results as in mid mode, but this will vary a lot depending on the effect and the audio material. It can be used in a wide variety of creative ways.
Mid+Side (M+S) lets the plugin process both mid and side channels together using the same settings. In many cases there is no difference to L+R mode, but there are exceptions. A reverb applied in M+S mode will result in minimal changes to the width of the stereo field (unless it is true-stereo, in which case mid will affect side and vice versa), it can be used therefore, to add depth without altering the width. A compressor in M+S mode can be a little harder to understand. It basically stabilizes the levels of the mid and side channels. When channel linking is disabled in the compressor, you can expect some variations in the sound field, because the compressor will attenuate

the louder channel (usually the mid), changing the stereo width depending on the audio level. When channel linking is enabled, a compressor will usually react similarly to the L+R channel mode. Exciters or saturators are both nonlinear processors, their outputs depend on the level of the input, so the dominant channel (usually mid) will be saturated more. This will usually make the stereo image slightly thinner and can be used as a creative effect.
How to modify mid and side with different settings? The answer is the same as for the L and R channels. Use two instances of the plugin one after another, one in M mode, the other in S mode. The instance in M mode will not change the side channel and vice versa.
Left+Right(neg) (L+R-) mode is the same as L+R mode, but the the right channel’s phase will be inverted. This may come in handy if the L and R channels seem out of phase. When used on a normal track, it will force the channels out of phase. This may sound like an extreme stereo expansion, but is usually extremely fatiguing on the ears. It is also not mono compatible – on a mono device the track will probably become almost silent. Therefore be advised to use this only if the channels are actually out of phase or if you have some creative intent.
There are also 4 subsidiary modes: Left & zero Right (L(R0)), Right & zero Left (R(L0)), Mid & zero Side (M(S0)) and Side & zero Mid (S(M0)). Each of these processes one channel and silences the other.
Surround mode is not related to stereo processing but lets the plugin process up to 8 channels, depending on how many the host supplies. For VST2 plugins you have to first activate surround processing using the Activate surround item in the bottom. This is a global switch for all MeldaProduction plugins, which configures them to report 8in-8out capabilities to the host, on loading. It is disabled by default, because some hosts have trouble dealing with such plugins. After activation, restart your host to start using the surround capabilities of the plugins. Deactivation is done in the same way. Please note that all input and output busses will be multi-channel, that includes side- chain for example. For VST3/AU/AAX plugins the activation is not necessary.
First place the plugin on a surround track – a track that has more than 2 channels. Then select Surround from the plug-in’s Channel Mode menu. The plugins will regard this mode as a natural extension of 2 channel processing. For example, a compressor will process each channel separately or measure the level by combining the levels of all of the inputs provided. Further surround processing properties, to enable/disable each channel or adjust its level, can be accessed via the Surround settings in the menu.
Ambisonics mode provides support for the modern 3D systems (mostly cinema and VR) with up to 64 channels (ambisonics 7th order). Support for this is still quite rare among the DAWs, so this needs to be activated in all DAWs using the Activate ambisonics item in the bottom. This is a global switch for all MeldaProduction plugins, which configures them to report 64in-64out capabilities to the host, on loading. After activation, restart your host to start using the ambisonics capabilities of the plugins. Deactivation is done in the same way. Please note that all input and output busses will be multi- channel, that includes side-chain for example.
First place the plugin on an ambisonics track, supported are all orders from 1st (4 channels) to 7th (64 channels). Then select Ambisonics from the plug- in’s Channel Mode menu. Finally select the Ambisonics settings in the menu and configure the Ambisonics order and other settings if needed. The plugins will regard this mode as a natural extension of 2 channel processing. For example, a compressor will process each channel separately or measure the level by combining the levels of all of the inputs provided.
AGC
AGC button enables or disables the automatic gain control – the automatic adjustment of the output volume such that it matches the input volume. Human hearing is very adaptable. In fact differences in loudness, for example when loading a preset, may go unnoticed and instead be perceived by the listener as “better sounding”, leading to a misjudgement. This feature should prevent this effect, thus allowing the listener to focus on the sonic qualities only.
AGC works by measuring input and output loudness, and then compensating for the difference while also taking into account any induced latency. The loudness measurement follows the ITU and EBU specifications with an RMS of 400ms, meaning that the reaction time is 400ms. This is very important, as you should be aware that AGC needs time to properly adjust after any change of settings. Also note that this is a nonlinear operation. It may cause some distortion due to the long measurement time. It should be negligible though.
AGC makes sense in most applications including reverberation and equalization for example. However, in some cases it can work against the plugin. A simple example of this is a tremolo, where the plugin manipulates output volume. If the tremolo rate is slow enough, say 1Hz, it makes the period longer than the actual AGC measurement time. So whenever the tremolo changes audio level, the AGC starts compensating for it. This can of course be used creatively, since AGC will always be a little “late”, but it is definitely not a desired outcome in normal use.
Another example of this is compression. When used with short attack and release times, AGC can effectively compensate for the attenuation of the compressor. However when the attack and release times are higher than 100ms, the compressor’s reaction time becomes too slow, and in conjunction with AGC, severe pumping can occur.
As a general rule of thumb as for all audio processing tasks, use it only if you know you need it. AGC is a powerful tool that can make your workflow easier, but it can also be damaging.
Set
Set button uses the AGC (automatic gain compensation) processor to calculate the ideal output gain to ensure that the output audio loudness is equal to the input level. To use it, simply enable playback in your host and click the button. The plugin’s output gain will be adjusted to match the input and output levels as closely as possible. If the AGC is already enabled, the change will be instant and you can disable the AGC afterwards. Typically you will browse presets, generate random settings etc. During the entire time you will have AGC enabled to prevent you from experiencing different output loudness levels. When you find a sonically ideal setup, you simply click the Set button to set the output gain automatically and disable the AGC as you won’t need it anymore.

If the AGC is not already enabled, clicking the Set button displays a window with progress bar for a few seconds, while the plugin temporarily enables AGC and analyses input and output of the plugin. After that the AGC is disabled again. To get the best results, you should feed the plugin with some “universal” signal. If you are processing a specific instrument, play a typical part, a chorus in case of vocals for example. If you are creating presets designed for general use, white/pink noise may be the best signal to use.
Limiter
Limiter button enables or disables the safety limiter. Its purpose is to protect you from peaks above 0dB, which can have damaging effects to your processing chain, your monitors and even your hearing. It is generally advised to keep your audio below 0dB at all times in all stages of your processing chain. However, several plugins may cause high level outputs with certain settings, often due to unprevented resonances with specific audio materials. The safety limiter prevents that. Note that it is NOT wise to enable this “just in case”. As with any processing, the limiter requires additional processing power and modifies the output signal. It is a transparent single- band brickwall limiter, but you still need to be careful when using it.
Diff
Diff button lets you audition the difference between input and output. This is especially useful for dynamic processors, such as compressors, where you can simply listen to the parts being modified. The output may give you insight about which parts of the signal are being processed and how.
A-H presets selector
A-H presets selector controls the current A-H preset. This allows the plugin to store up to 8 sets of settings, including those parameters that cannot be automated or modulated. However it does not include channel mode, oversampling and potentially some other global controls available from the Settings/Settings menu. For example, this feature can be used to keep multiple settings, when you are not sure about the ideal configuration When you change any parameter, only the currently selected preset is modified. The four buttons below enable you to switch between the last 2 selected sets using the A/B button, morph between the first 4 sets using the morphing button and copy & paste settings from one preset to another (via the clipboard). It is also possible to switch between the presets using MIDI program change messages sent from your host. The set selected depends on the Program Change number: 0 selects A, 7 selects H, 8 selects A, 15 selects H and so on.
A/B
A/B button switches between the active and previously active A-H preset (not necessarily the A and B presets themselves). To compare any 2 of the A-H presets, select one and then the other. Clicking this button will then switch between these two. You can do the same thing by clicking on the particular presets, but this makes it easier, letting you close your eyes and just listen.
Morph
Morph button lets you morph between the A, B, C and D settings. Morphing only affects those parameters that can be automated or modulated; that does include most of the parameters however. When you click this button, an X/Y graph is shown allowing you to drag the position indicator to any position between the letters A, B, C and D. The closer you drag the indicator to one of the letters, the closer the actual settings are to that preset. Please note that this will overwrite and change the preset that is currently selected, so it is best to select a new preset e.g. ‘E’, then use the morphing method. This way you will define the settings for A, B,C and D, morph between them, and store the result in ‘E’ without any modification of the original A, B, C and D presets. Please note that the ABCD morphing itself cannot be automated and that, while morphing, the changes to the underlying parameters are not notified to the host (there may be hundreds of change events).
Copy

Copy button copies the current settings to the system clipboard. Other presets, oversampling, channel mode and other global settings are not copied. Hold Ctrl to save the settings as a file instead. That may be necessary for complex settings, which may be too long for system clipboard to handle. It may also be advantageous when you want to send the settings via email. You can load the settings by drag & dropping them to a plugin or holding Ctrl and clicking Paste.
Paste
Paste button pastes settings from the system clipboard into the current preset. Hold Ctrl to load the settings from a file instead. Hold Shift to paste the settings to all of the A-H slots at once.
Undo
Undo button reverts the last change. Only changes to automatable or modulatable parameters and global settings (load/randomize) are stored.
Redo
Redo button reverts the last undo operation.
WAV
WAV button lets you process a file using the plugin with current settings. You can either click the button and select a file, or drag & drop the file (or multiple files) onto the button. If you let the plugin process WAV files, these will be saved with the original settings. If you use a different file type (such as MP3), the plugin will create WAV files with 32-bit bits-per- sample floating point. Please note that the files will be overwritten, so make a copy first if you want to keep the original.
IR
IR button lets you generate impulse response file, which approximates what the plugin does. You can use that in various IR players, including some hardware. Please note that any dynamic/modulated/somehow changing in time behaviour cannot be captured by an IR file. Also note that the IR will be generated as 24-bit WAV file ONLY if it is actually possible – if the output exceeds 0dBFS (or goes below -40dBFS), this cannot be accurately produced, so a 32-bit floating point WAV file will be generated. Some HW devices are known to have problems importing such files.
Collapse
Collapse button minimizes or enlarges the panel to release space for other editors.
Piano view
Piano view lets you play and display MIDI notes
Collapse
Collapse button minimizes or enlarges the panel to release space for other editors.
Dry/Wet
Dry/Wet lets you lower the amount of equalization. It is called Dry/Wet, but it is actually implemented in the core algorithm by changing the actual curve, since otherwise phase cancellation could occur in minimum phase mode. Range: 0.00% to 100.0%, default 100.0%

Range
Range defines the range of the equalizer in dB. Range: +1.00 dB to +64.00 dB, default +24.00 dB

Output gain
Output gain defines the power modification applied to the output signal. Range: -24.00 dB to +24.00 dB, default 0.00 dB

Smoothness
Smoothness makes the analyzer smooth out the curve, so it contains less bumping up and down. It approximates the energy in each frequency and the resulting graph should be easier to understand. Also the smoothness affects the automatic equalization. Usually higher value provides more natural results, however you should verify using your ears. Range: 0.00% to 20.0%, default 5.0%

Quality defines size of the FFT kernel, which hugely affects CPU consumption and audio processing accuracy.

Quality

Minimum phase
Minimum phase switch activates the minimum phase mode. By default the plugin is in linear-phase mode, which means that the output is slightly delayed (exhibits latency), but the phase of each frequency is not changed. Minimum phase mode is known from classic analog equalizers and has no latency. However the phase of each affected frequency is changed, hence it will sound different. The frequency response might also be slightly different, especially in lower quality modes. The most typical difference between linear-phase and minimum-phase equalizers is in ringing, which is an inevitable part of their sound. You might imagine that each frequency being manipulated in some way has some sort of tail, which is especially audible when processing transient sounds. After each drum hit, for example, you can hear some sort of decay, a very short one, depending on what the equalizer does. While minimum phase equalizers produce this tail after the transient, linear-phase equalizers generate a tail BEFORE as well, called pre-ringing. That’s a very unnatural thing as it essentially sounds like something that ‘has not happened yet’, and human ears are especially sensitive to that. This is what makes linear-phase equalizers sound inferior in many cases. It is important to understand that the concept of linear-phase filtering is purely scientific and has no meaning in nature. However there is one advantage of it as well – changing phase might introduce comb filtering when the processed audio is mixed with itself (or with another recording of the same instrument). Since linear-phase equalizers do not cause this problem, they are often used for orchestral recordings for example, where there are many microphones recording the same audio material.

Equalizer shape graph
Equalizer shape graph defines the desired frequency response. By default the editor is in drawing mode which means you can just use your left mouse button to draw any frequency response you want. Use right mouse button to disable the drawing mode and to tweak the graph more accurately.
Envelope graph
Envelope graph provides an extremely advanced way to edit any kind of shape that you can imagine. An envelope has a potentially unlimited number of points, connected by several types of curves with adjustable curvature (drag the dot in the middle of each arc) and the surroundings of each point can also be automatically smoothed using the smoothness (horizontal pull rod) control. You can also literally draw the shape in drawing mode (available via the main context menu).
Left mouse button can be used to select points. If there is a point, you can move it (or the entire selection) by dragging it. If there is a curvature circle, you can set up its tension by dragging it. If there is a line, you can drag both edge points of it. If there is a smoothing controller, you can drag its size. Hold Shift to drag more precisely. Hold Ctrl to create a new point and to remove any points above or below.
Left mouse button double click can be used to create a new point. If there is a point, it will be removed instead. If there is a curvature circle, zero tension will be set. If there is a smoothing controller, zero size will be set.
Right mouse button shows a context menu relevant to the object under the cursor or to the entire selection. Hold Ctrl to create or

remove any points above or below. Middle mouse button drag creates a new point and removes any points above or below. It is the same as holding Ctrl and dragging
using left mouse button. Mouse wheel over a point modifies its smoothing controller. If no point is selected, then all points are modified. Ctrl+A selects all points. Delete deletes all selected points.
Reset
Reset button restores the original settings (0dB everywhere).
Invert
Invert button inverts the current graph vertically, such that what was being amplified will be attenuated and vice versa.
Areas
Areas button displays settings for the visual areas, which are useful for better visual orientation in the frequency spectrum. These areas are customisable guidelines displayed in the equalizer editor and may contain different octave bands or typical drum frequencies for example. Note that these areas are always only guides, so your particular snare drum may not fit exactly in the very well with the example. In that case it is highly advantageous to use the sonogram or analyzer. Or you can edit your own areas.
Analyzer
Analyzer button enables or disables the spectrum analyzer, which shows the levels of individual frequencies. In most practical cases it is more convenient to use the sonogram, which shows the frequencies in time, but provides a lower level resolution as the levels are differentiated by color. The spectrum analyzer also provides a micro-sonogram (shown in the bottom of the panel) which uses the same color-based view as the sonogram.
Fill
Fill button enables or disables the full-sized analyzer micro-sonogram. This means that the micro-sonogram at the bottom of the equalizer graph will fill the whole analyzer view. Color differentiation is often easier to understand than the classical spectrum analyzer, so this might help you better understand the spectrum of your audio material.
An alternative is to use the spectrum sonogram.
Analyzer Rainbow Colors
Analyzer Rainbow Colors lets you see the analyzed sound spectrum in beautiful colors, following the same style as visible light. It ranges from infra-red colors for the lowest frequencies to ultra-violet colors for the highest frequencies in the analyzed audio. If rainbow colors are disabled, the analyzer and graph will be single-colored, following the setup from Settings/Graphs.
Sonogram
Sonogram button enables or disables the spectrum sonogram, which shows levels of individual frequencies in time. Levels are differentiated by color, so the accuracy is not as good as when using the spectrum analyzer. However, the time axis improves the visual orientation in the spectrum for typical audio signals. In contrast, the spectrum analyzer is more of a scientific tool.
Settings
Settings button shows the settings of the spectrum analyzer and the spectrum sonogram.
Analyzer settings

Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.

Left arrow
Left arrow button loads the previous preset.

Right arrow
Right arrow button loads the next preset.

Randomize
Randomize button loads a random preset.

Copy
Copy button copies the settings onto the system clipboard.

Paste
Paste button loads the settings from the system clipboard.
Tab selector switches between subsections.

Tab selector

Main settings panel
Main settings panel contains the most useful settings controlling the analyzer behaviour and view.
View
Freeze
Freeze button stops processing temporarily.
Normalize
Normalize button enables or disables the visual normalization, which makes the loudest frequency be displayed at the top of the analyser area (0dB); it does not normalise the sound. This is very useful for comparing frequency levels, however it does hide the actual level. When comparing 2 spectrums you are usually interested mainly in the frequency level differences. In most cases both audio materials will have different overall levels, which would mean that one of the graphs would be “lower” than the other, making the comparison quite difficult. Normalize fixes this and makes the most prominent frequencies of the spectrum reach the top of the analyzer area (or have the most highlighted color in case of sonogram).
Reset
Reset button resets the analyzer state. This is particularly useful when analyzing infinite average and maximum values.
View type
View type controls the way the spectrum is displayed. By default a smooth curve is presented. This view provides the best resolution and detail, but other modes (1/3 octave, 1 octave) may be easier to read.
Opacity

Opacity controls the opacity of all analyzer graphs.
Rainbow opacity
Rainbow opacity controls the opacity of the rainbow graph, if enabled.
Resolution
Resolution defines the vertical range on the display. The human auditory system has a resolution of about 90dB and the relevant range is usually less than 60dB. However you may want to use a higher resolution to check for technical problems – aliasing, distortion etc.
Analysis
Source mode
Source mode defines which audio stages are to be analyzed. By default both input & output are selected and analyzed. However you may want to analyze only the input, or the output (or the external side-chain, where available, on its own or with the input or output).
Channel mode
Channel mode defines which channels are to be analyzed. By default all channels are merged into a mono sum (Mix mode), which is then analyzed. However you may want to analyze separate channels or display both the left and right channels separately. Please note that if two channels (for example: input & output, or input & side-chain) are displayed at the same time then mix mode is used instead of left & right mode. Similarly, when the plug-in is in Surround mode then Mix mode is used. Also please note that when the plug-in is in one of the Mid / Side modes of operation, then you should read ‘Left’ as ‘Mid’ and ‘Right’ as ‘Side’. Different analyser combinations can, of course, be saved as different named presets.
Decay
Decay controls the speed at which the magnitudes return to the minimum value (silence). It is an alternative to averaging, which affects the speed that the frequencies both gain and lose their magnitudes. With a decay of 0% the magnitude goes to the minimum immediately. With 100% it stays the same forever, so it makes it display the maximum.
Slope
Slope makes the analyser increase the magnitude of higher frequencies, since they are typically lower in energy. 3dB per octave is a typical value, which makes pink noise horizontal as pink noise contains equal energy in each octave. Therefore if you set slope to 3dB, the response would be the same for the FFT and 1/3 octave graphs.
Gain
Gain makes all frequencies change magnitude by the specified amount. This has no meaning when normalization is enabled.

Time resolution
Time resolution improves the time resolution, but lowers the spectral resolution. This is typically useful for more scientific analyses, where the signal is moving quickly and you need to follow its movements quickly. This is often advantageous for sonograms with very high FFT sizes.
Deharmonize
Deharmonize tries to remove harmonics in the content and leave only fundamentals. This may help you find the dominant frequencies in the signal.
Super-resolution mode
Super-resolution mode activates a special processing algorithm, which provides high resolution even in the low frequency spectrum. Using standard FFT algorithms you can increase the FFT size to get better bass resolution, but this also slows down the response. Super-resolution mode keeps the quick response in high frequencies as they are naturally quicker, but also highly enhances the bass spectrum resolution. It requires additional CPU power.
Enable when hidden
Enable when hidden causes the analysis engine to continue processing the signal even when the GUI is hidden. Otherwise the sonogram is stopped, therefore will not be immediately available when the GUI is shown again.
Global normalization
Global normalization makes the normalization work based on the maximum of all graphs visible at the time. This means that the levels between the graphs will stay the same, but the maximum level will be 0dB. This is useful for comparing relative levels. If you disable this, all graphs will be normalized separately and will touch 0dB unless they are silent; and this is useful for comparing spectra.
Advanced panel
Advanced panel contains more advanced settings controlling the scientific parameters of the audio analysis.
Peak detection
Peak detection
Peak detection tries to the remove skirts of separate sinusoids letting you view the frequencies contained in your audio material. This may be handy when performing more scientific analyses.

Peak threshold
Peak threshold defines the level below the maximum which is used for peak detection. You can use this to control which peaks get through and to get rid of small insignificant ones.
Scientific settings
Overlapping
Overlapping makes the analyser perform multiple FFT processing on the same data which results in better precision at the cost of higher CPU impact. With higher overlapping the response also speeds up.
FFT size
FFT size defines FFT processing block size. It basically controls the resolution. However for higher resolution in bass content it is recommended to use super-resolution mode instead as it keeps the quick response in higher frequencies.
Window type
Window type defines the type of window used to pre-process the source samples. This has several consequences for the frequency response, but it is a little scientific parameter. If you do not have specific requirements you can just leave this set to its default.
Analytical smoothing
Analytical smoothing switch activates a more complicated smoothing algorithm, which provides more accurate results, however it may require much more CPU power. Unlike normal smoothing this method doesn’t change the proportions of frequencies with higher magnitudes. It is useful mostly for technical analysis and for most musical signals it is often better to use the default smoothing method.
Logarithmic averaging
Logarithmic averaging switch activates averaging in logarithmic mode, hence decibels. If you disable it, linear averaging will be used.
Graphs panel

Graphs panel contains visual settings for the different graphs that you can show in the analyzer.
Average
Copy analysis
Copy analysis button copies the current state of the analysis into the system clipboard so that you can paste it into another analyzer for comparison. Hold ctrl to export the analysis into a CSV file.
Analyzer Fill and Line Color – All Channels
Analyzer Fill and Line Color – All Channels defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in all channel modes – see channel mode help in the Main Settings tab.
Analyzer Fill and Line Color – Left Channel
Analyzer Fill and Line Color – Left Channel defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in the left channel mode only – see channel mode help in the Main Settings tab.
Peaks
Peaks enables detection of frequencies with the highest magnitudes. Frequencies which are at most 20dB lower than the maximum are displayed, and there may be at most 8 of them. Please note that this feature requires additional CPU power.
Line opacity

Line opacity controls the opacity of the graph outline.

Micro-sonogram
Micro-sonogram displays a small single-state sonogram at the bottom of the graph. This may help you compare relevant frequencies, because it is usually easier to compare colors than graph values.

Line width controls the width of the graph online.

Line width

Fill
Fill makes the sonogram (enabled by Show sonogram) fill the whole area.

Fill opacity controls the opacity of the graph interior fill.

Fill opacity

Average (infinite)

Copy analysis
Copy analysis button copies the current state of the analysis into the system clipboard so that you can paste it into another analyzer for comparison. Hold ctrl to export the analysis into a CSV file.
Analyzer Fill and Line Color – All Channels
Analyzer Fill and Line Color – All Channels defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in all channel modes – see channel mode help in the Main Settings tab.
Analyzer Fill and Line Color – Left Channel
Analyzer Fill and Line Color – Left Channel defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in the left channel mode only – see channel mode help in the Main Settings tab.
Maximum

Copy analysis
Copy analysis button copies the current state of the analysis into the system clipboard so that you can paste it into another analyzer for comparison. Hold ctrl to export the analysis into a CSV file.
Analyzer Fill and Line Color – All Channels
Analyzer Fill and Line Color – All Channels defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in all channel modes – see channel mode help in the Main Settings tab.
Analyzer Fill and Line Color – Left Channel
Analyzer Fill and Line Color – Left Channel defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in the left channel mode only – see channel mode help in the Main Settings tab.
Maximum (infinite)

Copy analysis
Copy analysis button copies the current state of the analysis into the system clipboard so that you can paste it into another analyzer for comparison. Hold ctrl to export the analysis into a CSV file.
Analyzer Fill and Line Color – All Channels
Analyzer Fill and Line Color – All Channels defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in all channel modes – see channel mode help in the Main Settings tab.
Analyzer Fill and Line Color – Left Channel
Analyzer Fill and Line Color – Left Channel defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in the left channel mode only – see channel mode help in the Main Settings tab.
Maximum – Average (infinite)
Copy analysis
Copy analysis button copies the current state of the analysis into the system clipboard so that you can paste it into another analyzer for comparison. Hold ctrl to export the analysis into a CSV file.
Analyzer Fill and Line Color – All Channels
Analyzer Fill and Line Color – All Channels defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in all channel modes – see channel mode help in the Main Settings tab.
Analyzer Fill and Line Color – Left Channel
Analyzer Fill and Line Color – Left Channel defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in the left channel mode only – see channel mode help in the Main Settings tab.
Comparison
Paste analysis
Paste analysis button pastes an analysis from the system clipboard and displays it as a comparison. This way you can compare your analysis to any other analysis from MeldaProduction plugins.
Analyzer Fill and Line Color – Left Channel
Analyzer Fill and Line Color – Left Channel defines the fill and line colors of the analyzer graph when Rainbow analyzer colors are disabled. This setting is used to set colors in the left channel mode only – see channel mode help in the Main Settings tab.

Sonogram panel

Sonogram panel contains visual settings of the sonogram, mainly the sonogram colors. A sonogram uses a set of colors. When the particular frequency’s level is at the minimum, the first color is used. When it is at the maximum, the last color is used. Otherwise it interpolates the colors in-between.

Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.

Left arrow
Left arrow button loads the previous preset.

Right arrow
Right arrow button loads the next preset.

Randomize
Randomize button loads a random preset.
Opacity controls the opacity of the sonogram.

Opacity

Prefiltering panel

Prefiltering panel provides the optional prefiltering, which means that level of each frequency is either increased or decreased before analysis. Normally the analyzer shows scientific levels of each frequency. However you can for example use the predefined loudness curves, which makes the analyzer show how the human auditory system responds to the frequencies, so it in fact provides more accurate analysis taking into account the fact that human hearing is more complicated than the mathematical model.
Depth
Depth controls the amount of prefiltering. 100% makes the analyzer follow the prefiltering graph precisely, 0% essentially disables this feature.

Prefiltering
Envelope graph
Envelope graph provides an extremely advanced way to edit any kind of shape that you can imagine. An envelope has a potentially unlimited number of points, connected by several types of curves with adjustable curvature (drag the dot in the middle of each arc) and the surroundings of each point can also be automatically smoothed using the smoothness (horizontal pull rod) control. You can also literally draw the shape in drawing mode (available via the main context menu).
Left mouse button can be used to select points. If there is a point, you can move it (or the entire selection) by dragging it. If there is a curvature circle, you can set up its tension by dragging it. If there is a line, you can drag both edge points of it. If there is a smoothing controller, you can drag its size. Hold Shift to drag more precisely. Hold Ctrl to create a new point and to remove any points above or below.
Left mouse button double click can be used to create a new point. If there is a point, it will be removed instead. If there is a curvature circle, zero tension will be set. If there is a smoothing controller, zero size will be set.
Right mouse button shows a context menu relevant to the object under the cursor or to the entire selection. Hold Ctrl to create or remove any points above or below.
Middle mouse button drag creates a new point and removes any points above or below. It is the same as holding Ctrl and dragging using left mouse button.
Mouse wheel over a point modifies its smoothing controller. If no point is selected, then all points are modified. Ctrl+A selects all points. Delete deletes all selected points.
Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.
Left arrow
Left arrow button loads the previous preset.
Right arrow
Right arrow button loads the next preset.
Randomize

Randomize button loads a random preset.
Envelope graph menu

Envelope graph menu provides additional features which are used to edit the graph. Open the menu using right mouse button in the graph. Please note that if you select some points in the graph, or click on a point for example, the menu will be different and will cover only those features related to the selected set of points.
Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.
Left arrow
Left arrow button loads the previous preset.
Right arrow
Right arrow button loads the next preset.
Randomize
Randomize button loads a random preset.
Copy
Copy button copies the settings onto the system clipboard.
Paste
Paste button loads the settings from the system clipboard.
Random
Random button generates random settings using the existing presets.

Snap to grid X
Snap to grid X activates the snap to grid feature. Alternatively you can press Alt while dragging a point or selection.

Snap
Snap button activates the snap to grid feature. Alternatively you can press Alt while dragging a point or selection.

Insert point button creates a point at mouse position.

Insert point

Step sequencer
Step sequencer button generates the envelope from step sequencer.

Clear points button deletes all points.

Clear points

Randomize
Randomize button slightly modifies the Y coordinates.

Mirror X
Mirror X button inverts the X coordinates of all points.

Mirror Y
Mirror Y button inverts the Y coordinates of all points.

Export CSV
Export CSV feature lets you export the graph to a CSV file. CSV file is a simple text format, which has multiple lines with X and Y coordinates delimited by ‘;’. For example: 0.275;0.2 0.438;0.5 0.775;0.67

Import CSV
Import CSV feature lets you select a CSV file and imports the graph points from it. CSV file is a simple text format, which has multiple lines with X and Y coordinates delimited by ‘;’. For example: 0.275;0.2 0.438;0.5 0.775;0.67

Expression evaluator
Expression evaluator lets you generate points based on a mathematic formula. The only input variable is ‘x’, so as an example you may write ‘ln(x^3 + 1) – sin(xx)’.
Expression evaluator uses traditional C/C++ style formating, which is natural for most people. It provides arithmetics, logical and conditional operators. Following terms are supported: Constants: pi, e, sqrt2, ln2
Arithmetic operators: -a inverts the sign, e.g. “-x” produces +2 for x=-2 a+b = addition a-b = subtraction ab = multiplication a/b = division a%b = modulo, remainder after division a^b = power, e.g. “2^3” produces 222 = 8
Arithmetic functions: min(a,b) = minimum of both values max(a,b) = maximum of both values limit(a,min,max) = a limited into the interval min..max to01(a,min,max) = converts “a” as min..max to 0..1 from01(a,min,max) = converts “a” as 0..1 to min..max tom11(a,min,max) = converts “a” as min..max to -1..1 fromm11(a,min,max) = converts “a” as -1..1 to min..max
Basic mathematic functions: abs(x) = absolute value, e.g. abs(-3) = 3 sqr(x) = xx sqrt(x) = square root exp(x) = natural exponential e^x ln(x) = natural logarithm log10(x) = logarithm with base 10 log(x, base) = logarithm with specified base inv(x) = 1/x sgn(x) = sign of x, -1 or 0 or +1 depending on xx round(x) = rounding to the nearest value floor(x) = rounding to the nearest lower value, e.g. floor(-2.3) = -3 ceil(x) = rounding to the nearest higher value, e.g. ceil(-2.3) = -2 rand(x) = random value from 0 to x
Functions for specific units: f01(a) = converts “a” as frequency from 20…20000 into log scale 0..1 ffrom01(a) = converts “a” as 0..1 (log scale) to frequency from 20…20000 todb(a) = converts “a” as multiplier to dB value by calculating “20*log10(a)” fromdb(a) = converts “a” as dB value to multiplier by calculating “10^(a/20)”
Trigonometric functions: sin(x), asin(x), cos(x), acos(x), tan(x), atan(x), sinh(x), cosh(x), tanh(x)
Logical operators: a==b = comparison producing 1 if “a” and “b” are equal, 0 otherwise

a!=b = comparison producing 1 if “a” and “b” are NOT equal, 0 otherwise a<b = comparison producing 1 if “a” is lower than “b”, 0 otherwise a<=b = comparison producing 1 if “a” is lower or equal to “b”, 0 otherwise a>b = comparison producing 1 if “a” is greater than “b”, 0 otherwise a>=b = comparison producing 1 if “a” is greater or equal to “b”, 0 otherwise !a = logical negation, 0 produces 1, 0 otherwise a&&b = logical AND, produces 1 if both “a” and “b” are nonzero a||b = logical OR, produces 1 if any of “a” and “b” are nonzero a^^b = logical XOR, produces 1 if “a” and “b” are logically different a ? b : c = if a is nonzero, then the result is b, otherwise it is c
Analyse audio
Analyse audio lets you analyse a portion of an audio file at specified intervals, extract its level envelope and use those levels to construct the graph’s curve.
Curvature
Integral curvature
Integral curvature makes the multi-curvature modes such as rectangles always have an integral number of items, e.g. 1, 2, 3, … rectangles. If you disable this, it will be also possible to have for example 2.3 rectangles, which will however cause a discontinuity.
Smoothing
Lock sides
Lock sides makes the smoothing factor equal on both sides.
Proportional
Proportional makes the smoothing area size defined by the smaller side.
Faster smoothing
Faster smoothing enables slightly faster algorithm, which can however often cause unnecessary curving.
Pause
Pause button stops the analyzer temporarily.
Normalize
Normalize button enables or disables the visual normalization, which makes the loudest frequency be displayed at the top of the analyser area (0dB); it does not normalise the sound. This is very useful for comparing frequency levels, however it does hide the actual level. When comparing 2 spectrums you are usually interested mainly in the frequency level differences. In most cases both audio materials will have different overall levels, which would mean that one of the graphs would be “lower” than the other, making the comparison quite difficult. Normalize fixes this and makes the most prominent frequencies of the spectrum reach the top of the analyzer area (or have the most highlighted color in case of sonogram).
Reset
Reset button resets analyzer graphs. This is particularly useful when analyzing infinite average and maximum values.
Copy analysis
Copy analysis button copies the current state of the analysis into the system clipboard so that you can paste it into another analyzer for comparison. Hold ctrl to export the analysis into a CSV file.
Paste

Paste button pastes the analysis from the system clipboard and displays it as the comparison in the graph.
Automatic equalizer panel
Automatic equalizer panel contains long-term analysis and automatic equalization functions.
Analyze source
Analyze source button starts or stops the source analysis, source defines how you want your audio to sound. In your host, route the source audio only to the plug-in and start playback, then press this button to start the analysis. When the graph (shown as a red line) stops moving the analysis is finished and you can press the button again to complete the process. Alternatively, you can analyze an audio file (WAV, MP3, FLAC etc.) offline by clicking the File button and browsing to the file or by dragging & dropping the file from your host or Explorer / Finder onto the Analyze source button (this latter method may not work in all hosts, especially on Mac). Three other 3 buttons let you save and load an analysis or even draw the desired response manually.
Analyze target
Analyze target button starts or stops the target analysis, target refers to the audio that you want to process. In your host, route the target audio only to the plug-in and start playback, then press this button to start the analysis. When the graph (shown as a green line) stops moving the analysis is finished and you can press the button again to complete the process. Alternatively, you can analyze an audio file (WAV, MP3, FLAC etc.) offline by dragging & dropping the file from your host or Explorer / Finder onto the Analyze target button (this may not work in all hosts, especially on Mac). This tip may come in handy – instead of playing the whole song back to get an accurate analysis you can render the song and analyse the output file, which will probably be faster.
Equalize
Equalize button performs automatic equalization – it adjusts the bands to match the source and target analyses as closely as possible. To do that, you need to have the analyses of both the source and target audio first. When you have both analyses ready, you will see the red (source) and green (target) analyses in the graph area and this button becomes available. First get the source analysis using the Analyse source button. The Source is the reference audio material that you want your track to sound like. This is most likely a different track, so you have several options to get this analysis. You can move the plugin to the reference track, perform the analysis then move the plugin onto the track you want to process. Or, open another instance of the plugin on the reference track, perform the analysis and copy the analysis (using the copy/paste buttons, below the A-H preset selectors and A|B comparison button) to the plugin on your track. Or, by saving and loading the analysis (using the Save and Load buttons). Alternatively, you can draw the desired spectrum or analyse an WAV/MP3/FLAC file by dragging & dropping the file onto the Analyze source button. Secondly, use Analyse target button to analyse the audio that you are processing (the green line in the graph). Finally press the Equalize button to perform the equalization. Automatic equalizer tries to match the spectral content of the source analysis graph to the target analysis, producing an equalization curve that aims to make the target audio sound tonally more like the source audio. In most cases the result will be too strong so it is worth considering lowering the Dry/Wet parameter to say 30-40% to get a more natural output. You can also make use of the Smoothness parameter, above the graph area. Increasing the smoothness before pressing Equalize will create a less-pronounced equalization curve.
Separate

Separate button performs automatic separation – adjusting the bands so that the target does not contain those frequencies that are prominent in the source. This is useful, for example, during mixing to avoid collisions between multiple tracks. To do that, you need to have analyses of both the source and target audio first. When you have both analyses ready, you will see red (source) and green (target) analyses and this button becomes available.
For example, say you want to avoid collisions between bass and bass drum. One of them will have to be sacrificed and processed by the equalizer, let’s choose the bass. In that case you would analyse the bass drum as the source (the red line) and put the equalizer into the bass track afterwards and analyse that as the target (the green line). Separate would then produce an equalization curve that reduces, in the bass track, those frequencies that are prominent in the bass drum track.
Another example is typical when your mix is already busy, but you need to put one more track to it. In this case you analyse the whole mix as the source and your new track as the target. The separation will then allow only those frequencies from your new track that are not prominent in the whole mix; in other words, frequencies that are already prominent in the mix are not affected by those same frequencies in the new track. If this separation were not done, then those frequencies would start colliding with the rest of your mix and that could make it sound muddy and crowded.
When you have both analyses ready, click this button to perform the separation. In most cases the result will be too strong so it is worth considering lowering the Dry/Wet parameter to say 30-40% to get more natural output. You can also make use of the Smoothness parameter, above the graph area. Increasing the smoothness before pressing Equalize will create a less- pronounced equalization curve.
Reset
Reset button clears both the source and target analyses.
Swap source and target
Swap source and target button swaps the analyses of source and target and can be helpful when you want to try equalizing ‘the other way around’.
Settings
Settings button shows additional settings of the automatic equalizer algorithm.
Auto-equalizer settings

Auto-equalizer settings provides additional settings for the automatic equalization algorithm.
Bottom frequency
Bottom frequency defines lowest frequency taken into account when performing automatic equalization. Use it to avoid unnecessary processing of the bottom- end.
Top frequency
Top frequency defines highest frequency taken into account when performing automatic equalization. Use it to avoid unnecessary processing of the high- end.
Space in mix limit
Space in mix limit controls the minimal level below which a particular frequency is considered silent. It is used for the Separate feature to determine which frequencies in the source (full mix for example) are candidates for separation and which are not. For example, if this value is -20dB and the level of the frequency 1000Hz in the source analysis is -20dB, then the separation engine will consider 1000Hz to be “available” in the target audio and will not try to remove this frequency from the target. However if the level in the source were -10dB, then the engine would consider this frequency 50% occupied and may try to use a filter to remove some of the 1000Hz from the target if it contains this frequency as well. In other words, frequencies in the source with levels louder than the mix limit will be those that would be reduced in the target.

Transformation
Transformation changes the requested frequency response. The engine first determines the optimum frequency response (the algorithms for equalization and separation are different). Then it computes the optimal response of the equalizer. Before it approximates this response using the equalizer filters, that response can be transformed. The transformation graph shows the original requested response on the X-axis and the new one on the Y-axis. For example you can exaggerate or sharpen the results just using the single point curvature.
Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.
Left arrow
Left arrow button loads the previous preset.
Right arrow
Right arrow button loads the next preset.
Randomize
Randomize button loads a random preset.

EnvelopeEditorGraph
Envelope graph
Envelope graph provides an extremely advanced way to edit any kind of shape that you can imagine. An envelope has a potentially unlimited number of points, connected by several types of curves with adjustable curvature (drag the dot in the middle of each arc) and the surroundings of each point can also be automatically smoothed using the smoothness (horizontal pull rod) control. You can also literally draw the shape in drawing mode (available via the main context menu).
Left mouse button can be used to select points. If there is a point, you can move it (or the entire selection) by dragging it. If there is a curvature circle, you can set up its tension by dragging it. If there is a line, you can drag both edge points of it. If there is a smoothing controller, you can drag its size. Hold Shift to drag more precisely. Hold Ctrl to create a new point and to remove any points above or below.
Left mouse button double click can be used to create a new point. If there is a point, it will be removed instead. If there is a curvature circle, zero tension will be set. If there is a smoothing controller, zero size will be set.
Right mouse button shows a context menu relevant to the object under the cursor or to the entire selection. Hold Ctrl to create or remove any points above or below.
Middle mouse button drag creates a new point and removes any points above or below. It is the same as holding Ctrl and dragging using left mouse button.
Mouse wheel over a point modifies its smoothing controller. If no point is selected, then all points are modified. Ctrl+A selects all points. Delete deletes all selected points.
EQ on smoothness change
EQ on smoothness change switch makes the automatic equalization to be performed whenever you change the smoothness parameter.

Global meter view
Global meter view provides a powerful metering system. If you do not see it in the plug-in, click the Meters or Meters & Utilities button to the right of the main controls. The display can work as either a classical level indicator or, in time graph mode, show one or more values in time. Use the first button to the left of the display to switch between the 2 modes and to control additional settings, including pause, disable and pop up the display into a floating window. The meter always shows the actual channels being processed, thus in M/S mode, it shows mid and side channels. In the classical level indicators mode each of the meters also shows the recent maximum value. Click on any one of these values boxes to reset them all.
In meter indicates the total input level. The input meter shows the audio level before any specific processing (except potential oversampling and other pre-processing). It is always recommended to keep the input level under 0dB. You may need to adjust the previous processing plugins, track levels or gain stages to ensure that it is achieved.
As the levels approach 0dB, that part of the meters is displayed with red bars. And recent peak levels are indicated by single bars.
Out meter indicates the total output level. The output meter is the last item in the processing chain (except potential downsampling and other post- processing). It is always recommended to keep the output under 0dB.
As the levels approach 0dB, that part of the meters is displayed with red bars. And recent peak levels are indicated by single bars.
Width meter shows the stereo width at the output stage. This meter requires at least 2 channels and therefore does not work in mono mode. Stereo width meter basically shows the difference between the mid and side channels. When the value is 0%, the output is monophonic. From 0% to 66% there is a green range, where most audio materials should remain. From 66% to 100% the audio is very stereophonic and the phase coherence may start causing problems. This range is colored blue. You may still want to use this range for wide materials, such as background pads. It is pretty common for mastered tracks to lie on the edge of green and blue zones. Above 100% the side signal exceeds the mid signal, therefore it is too monophonic or the signal is out of phase. This is marked using red color. In this case you should consider rotating the phase of the left or right channels or lowering the side signal, otherwise the audio will be highly mono-incompatible and can cause fatigue even when played back in stereo. For most audio sources the width is fluctuating quickly, so the meter shows a 400ms average. It also shows the temporary maximum above it as a single coloured bar. If you right click on the meter, you can enable/disable loudness pre-filtering, which uses EBU standard filters to simulate human perception. This may be useful to get a more realistic idea about stereo width. However, since humans perceive the bass spectrum as lower than the treble, this may hide phase problems in that bass spectrum.

Time graph
Time graph button switches between the metering view and the time-graphs. The metering view provides an immediate view of the current values including a text representation. The time-graphs provide the same information over a period of time. Since different time-graphs often need different units, only the most important units are provided.
Pause
Pause button pauses the processing.
Popup
Popup button shows a pop-up window and moves the whole metering / time-graph system into it. This is especially useful in cases where you cannot enlarge the meters within the main window or such a task is too complicated. The pop- up window can be arbitrarily resized. In metering mode it is useful for easier reading from a distance for example. In time-graph mode it is useful for getting higher accuracy and a longer time perspective.
Enable
Enable button enables or disables the metering system. You can disable it to save system resources.
Collapse
Collapse button minimizes or enlarges the panel to release space for other editors.
Collapse
Collapse button minimizes or enlarges the panel to release space for other editors.
Collapse
Collapse button minimizes or enlarges the panel to release space for other editors.

Preset selector
Preset management window provides management for your presets.
Backup
Backup button lets you backup presets for all MeldaProduction software into a single file, so you can transfer it to a different machine and restore the presets there for example.
Restore from backup
Restore from backup button lets you restore presets for all MeldaProduction software from a single file created by the Backup button.
Folders tree

Folders tree lets you organize your presets into any number of folders. Use the buttons at the bottom of the window to create, rename or delete sub- folders. Note that these are not actual files & folders on disk, but are records in the preset database.
Auto-open
Auto-open switch makes the tree automatically open selected items, so that all sub-folders are visible, whenever you select one. This makes it easier to browse through large structures containing many folders. The switch also makes the browser show all presets available in the selected folder including all sub-folders (except when you select the root folder).
Open all
Open all button expands the whole tree, so you can see all of the folders. This may be handy when editing large preset structures.
Close all
Close all button collapses the whole tree except for the root folder. This may be handy when editing large preset structures.
Add
Add button creates a new folder in the tree
Rename
Rename button lets you rename the selected folder.
Delete
Delete button deletes the folder including all the presets and subfolders in it.
Export
Export button lets you export the selected folder including all presets and sub-folders into a file, which you can then transfer to any computer. Or just use as a back-up.
Import
Import button lets you import a file containing presets and sub-folders and add it to the selected folder. The importer will ask you whether to destroy the original contents, so that the new presets replace previous ones, or to keep both.

Presets list
Presets list contains all presets available in the selected folder. Double- click on a preset or use Load button to load a preset. Use the buttons at the bottom of the list to perform additional changes. Please note that these are not actual files & folders on disk, but are records in the preset database.
Favourite
Favourite button toggles the ‘favourite’ indicator for the selected preset.
Show
Show button shows only the favourite presets and hides the others.
Sort
Sort button shows the presets sorted alphabetically.
Random
Random button selects and loads a random preset from the current folder. This way you can quickly browse the presets in the folder in a completely random order.
Previous
Previous button selects and loads the previous preset from the current folder.
Next
Next button selects and loads the next preset from the current folder.
Submit preset
Submit preset button submits the selected preset to the online exchange servers and retrieves all the presets currently in the database. This feature serves as an online database of presets available for all the user community. Please do not submit garbage presets.
Download presets
Download presets button retrieves all the presets currently in the database. This feature serves as an online database of presets available for all the user community. Please consider participating by submitting your presets as well.
Load

Load button loads the specified preset. Please note that you can do the same thing by double-clicking the preset itself or pressing the Enter key.

Add
Add button creates a new preset using the current settings.

Rename
Rename button lets you rename the selected preset.
Replace
Replace button replaces the selected preset by one with current settings.

Delete
Delete button deletes the selected preset.

Search filters the list of available presets to those containing the keywords in name or information.

Search

Clear
Clear button deletes all text in the search field.

Preset information
Preset information field contains optional information about the preset, which you can edit when creating or renaming the preset.

Plugin settings
Plugin settings window offers more advanced settings and is available via the Settings button.

Licence panel
Licence panel lets you manage licences on this computer.
Activate
Activate button lets you activate your licence for the plugin on this computer.
GUI & Style panel

GUI & Style panel lets you configure the plugin’s style (and potentially styles of other plugins) and other GUI properties.

Style button lets you change the style for this particular plugin.

Style

Random style
Random style button selects a random style with random editor mode.

Default style
Default style button reverts to the default style and default size of the GUI. Hold the Ctrl key while clicking to revert all MeldaProduction

software products, not just the current plugin.
Select current style as default
Select current style as default button stores the current style as the default for all MeldaProduction software. This is used for the other plugins that are currently using the default style; that is, those plugins for which you have NOT selected a specific style. Please note that if you have already selected a specific style for a particular plugin, then it won’t be changed until you use the Default style button.
GPU acceleration
GPU acceleration controls how much the GPU is used for visual rendering to save CPU power. Enabled mode provides maximum speed and lets the GPU perform as many drawing operations as possible. Compatibility mode uses the GPU for drawing, but doesn’t use modern technologies for maximum performance. Use it if you experience occasional problems with drawing, the usual case for older ATI graphics cards. With Pro Tools on OSX this mode is always used instead of Enabled mode due to compatibility problems with this host. Disabled mode disables GPU acceleration completely, drawing is then performed by the CPU. Use only if you experience technical difficulties. A known problem may occur when using multiple displays with multiple graphical interfaces. When moving the plugin window from one display to another, it may stop displaying correctly until you move it back to the original display.
Frames per second
Frames per second controls the refresh rate of the visual engine. The higher the number is the smoother everything is, but the more CPU it requires. You might want to lower this value if your computer is running out of CPU power.
Enable high DPI / retina support
Enable high DPI / retina support enables the plugin to use the high resolution on high DPI (Windows) and retina (OSX) devices. It is enabled by default and detected automatically, if the host allows it. If you run into any problems, you can disable it using this option. It may be desired if you use multiple displays where only some of them feature the high resolution making the image on the low resolution ones look ugly.
If you disable this option, on Windows the high DPI device detection will be ignored and the plugin will probably appear very small. You can manually compensate for it by using a bigger style. On OSX disabling this option will disable the high DPI rendering, resulting in the classic blurry look of non- compliant applications. Changes take effect after you restart the host.
Enable colorization
Enable colorization enables the plugin to change the colors of certain elements overriding your style settings. Plugins use that to highlight different parts of the graphics interface for easier workflow. You may want to disable it if you just feel it’s not for you. This particular option is relevant only for controls – knobs, sliders, checkboxes etc.
Enable colorization for panels
Enable colorization for panels enables the plugin to change the colors of certain elements overriding your style settings. Plugins use that to highlight different parts of the graphics interface for easier workflow. You may want to disable it if you just feel it’s not for you. This particular option is relevant only for containers – panels, graphs etc.
Allow default colors by plugin type
Allow default colors by plugin type is on by default and makes the plugin select its default colors depending on the type of the Plugin. Hence for instance equalizer will always be green. This is done by selecting one of the first 8 color presets for the current style, so the actual colors depend on selected style and its presets. You may want to disable this if you for example want all plugins to look the same including the style and colors. It is necessary to restart your host for a change to this option to take effect.
Allow style changes if the editor is too big
Allow style changes if the editor is too big is on by default and makes the plugin change its style, editor mode and other settings if it finds out it is too big to fit the current screen resolution.
Clear window settings cache
Clear window settings cache button deletes stored states of all popup windows on all MeldaProduction software. The window settings mostly contain positions and sizes, but in some cases also the data inside the popup windows. You can use this feature if something goes wrong, a window doesn’t appear at all, problems like that. While this shouldn’t happen and it’s generally better to contract our support, this button provides a potential quick fix.
Plugin settings panel

Plugin settings panel contains settings that control the behaviour of this plugin instance. These are properties that rarely need to be changed, so they have been moved here.
Intelligent sleep on silence
Intelligent sleep on silence option provides a huge CPU saver by automatically disabling the plugin processing if the input is silent and if the plugin doesn’t generate some signal on its own. This makes the plugins take virtually no CPU if there is no need for them to actually process anything. Disable this if you run into any problems with them.
Smart bypass
Smart bypass enables the high quality crossfading bypass system, which ensures a smooth transition between the processed and dry signals. You may want to disable it if you are using settings with latency on a plugin, which demands lots of CPU power, which would otherwise need to perform processing even when bypassed, which is pretty much the only downside of the smart bypassing algorithm.
MIDI thru
MIDI thru makes the plugin pass all input MIDI through to its MIDI output. That is often advantageous in DAWs such as Reaper, which naturally pass MIDI from one plugin to the next.
Sample-accurate event processing
Sample-accurate event processing makes the plugin schedule every event such as MIDI or automation to their accurate locations with sample accuracy, if the host allows it. For example, if the block size in your host’s audio settings is 1024 samples, this means the plugin is probably processing blocks of 1024 samples, in 44100 Hz sampling rate it is about 23ms. If this setting is disabled, any change in automation, MIDI, modulation etc. may then be granularized to 23ms (once per block), which means that you will not be able to recognize events that occur say 10ms apart from each other. When this setting is enabled however, the plugin divides processing blocks to sub-blocks and processes the events at their correct positions. This may, of course, require more CPU power.
Latency reporting
Latency reporting makes the plugin report latency to the DAW, if any. Normally this is enabled, but in certain live situations you may want to disable this, so that the DAW stops compensating the latency on other tracks. It has no effect if the plugin is placed on master track.
Global system settings panel
Global system settings panel contains settings which are applied to all plugins on this computer.
Intelligent sleep on silence (global)
Intelligent sleep on silence (global) is a global switch, which disables the Auto disable on silence feature in all plugins on the system. It is provided “just in case” something goes wrong.

Right click sets default value
Right click sets default value makes the engine set default value to a parameter when you right click on it. By default, a menu is displayed instead, with an option to set the default value, but potentially with more features. When this is disabled, you can still set a default value by holding ctrl/cmd when right clicking the control.
Tablet mode
Tablet mode enables better support for tablets at the expense of the mouse. Enable this if you are using a tablet to control the plugins and it is behaving incorrectly.
Enable keyboard input
Enable keyboard input enables the keyboard input for the main plugin window. You may want to disable if the plugin intercepts spacebar key (often used by the host for playback enable/disable and your host doesn’t allow for the problem itself.
Collapse plugin toolbar
Collapse plugin toolbar makes all plugins collapse the plugin toolbar containing more advanced features such as channel modes, A-H presets, oversampling, safety limiter etc. It is enabled by default to make the user interfaces cleaner and easier to grasp for beginners.
Set default settings
Set default settings button stores the current plugin settings as the defaults, so that when you open a new instance of the plugin, these settings will be loaded automatically.
Reset default settings
Reset default settings button removes the defaults that you set using Set default settings button, so that when you open a new instance of the plugin, the factory defaults will be loaded.
Advanced global settings panel
Advanced global settings panel contains advanced settings which are applied to all plugins on this computer.
Saturation antialiasing
Saturation antialiasing enables a global support for antialiasing in saturation algorithms available in many of the plugins. These require additional CPU processing, however significantly reduce aliasing artifacts without a need for oversampling.
Forward unused keyboard input to DAW
Forward unused keyboard input to DAW makes the plugin forward unused keyboard events to the DAW from its popups. If this is disabled, pressing say spacebar commonly used to start/stop playback won’t work if a popup window is active. Enabling this makes this work and it is optional just in case your DAW does something unexpected.
Silence when busy
Silence when busy makes all plugins silence the output when something time consuming is being performed in background and the plugin needs to wait for it. For instance, in modular plugins such as MXXX, adding a module requires lots of changes in the entire engine, so it is performed in background and while the plugin is inconsistent state, it is temporarily bypassed. Sometimes however, when performing live, bypassing makes the dry signal go through and that may not be wanted. So you can enable this option, and the plugin will silence the output instead.
Store resampled files

Store resampled files allows the plugins create audio files for sampling rates being used if they differ from the original file sampling rate. It is used only by a few plugins, but it can improve the loading performance a lot at the cost of some additional storage on the hard drive. Disable this option if you are short on free space.
Show confirmations for destructive actions
Show confirmations for destructive actions makes the plugin display a confirmation window whenever you are going to change the plugin settings irreversibly when using a feature, for example: when resetting your settings.
Online check for updates and tutorials
Online check for updates and tutorials lets the plugin ask about once a week if there is a new version or tutorial available so you can be easily kept up to date.
Anonymous online platform reporting
Anonymous online platform reporting helps us maximize compatibility with your operating system and host. If enabled, our plugins will send information about the system and host that you are using. We can use this information to find out which plugins and platforms are used the most and maximize testing and support there. Platform reporting is completely anonymous and requires only minimal internet connection time (a few kB once a week).
CPU benchmark
CPU benchmark button calculates the performance of the plugin with the current settings.
System info
System info button displays some technical information about the build and the machine.
Compatibility settings panel
Compatibility settings panel contains advanced settings you rarely need unless you run into some problems when using multiple versions or old projects.
Storage compatibility mode for V15
Storage compatibility mode for V15 reverts to the older and much slower storage system used by version 15 and older. Use this if you want to open your projects or presets on older version of MeldaProduction plugins.
Automation compatibility mode for V10
Automation compatibility mode for V10 reverts the set of automation parameters back to version 10 and earlier. Use this if you need the plugins to work with projects, which contain autmation, made using version 10 or older. In version 11 the list of automatable parameters have been highly simplified and reorganized and multiparameters are provided for the vast number of hidden parameters. This should speed up loading, improve workflow with the plugins and improve compatibility with various hosts.
Smart interpolation panel

Smart interpolation panel controls the depth of the smart interpolation algorithm, which controls the parameters in order to provide maximum audio quality and lower the chance of zipper noise. Smart interpolation is engaged whenever you change any parameter via the GUI, modulators, multiparameters, MIDI or automation.
Many parameters can be automated easily and the plugin responds with sample- accurate results. However, several parameters need exhaustive pre-processing when changed. In these cases, the parameters are not updated every sample, but, for example, once every 32 samples. This highly reduces CPU usage, but affects the output quality.
With modulators the situation is more complicated. Besides the updating issue, the modulator itself can perform some pretty advanced processing, hence it is better to perform the processing in blocks. However, the bigger the block, the less often the modulator updates those parameters associated with it and the resulting modulation is less accurate. In a way you can say that the modulator is slower and lazier. This may actually be wanted, so when it comes to modulators it is not true that a better mode always means better output quality.
The smart interpolation mode controls the maximum number of samples being processed before the parameters are updated. Minimal mode uses 2048 samples and rarely will do anything unless processing offline. Normal mode uses 256 samples and usually is enough to achieve good quality results. High mode uses 32 samples and provides perfect quality for most cases. It is also a good compromise between CPU usage and audio quality, so it is the default. Very high mode uses 4 samples and you will rarely need it. Extreme mode uses 1 sample, which means that everything is updated after every single sample. This provides the highest possible accuracy and quality you can ever achieve, however it requires lots of CPU and it is very unlikely that you will ever need it. If you use this mode and still hear audio artifacts, then either what you are hearing is actually CPU overload, or you are doing something that is not physically possible.
The higher the mode, the quicker the parameter updates, but the more the CPU load.
Please note that modulating certain parameters without artifacts is impossible. For example, when modulating a delay very quickly, the physics of such a process just cannot occur in the natural world and the results are appropriately unnatural. These physically impossible processes usually manifest themselves as distortion or zipper noise.

MIDI editor
MIDI settings window lets you configure, how the plugin reacts to various MIDI messages. You can use MIDI controllers or MIDI notes and you can also configure a controller to switch between presets, which is especially useful for realtime performances.
Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.
Left arrow
Left arrow button loads the previous preset.
Right arrow
Right arrow button loads the next preset.
Randomize
Randomize button loads a random preset.
Copy
Copy button copies the settings onto the system clipboard.
Paste
Paste button loads the settings from the system clipboard.
Map
Map button displays all current mappings of modulators, multiparameters and MIDI (whichever subsystems the plugin provides).
Tab selector
Tab selector switches between subsections.
Controllers panel

Controllers panel contains settings of MIDI controllers.
Do not load from presets
Do not load from presets button disables loading the controllers from presets. This may be handy if you have configured specific MIDI controllers with target parameters and you want to browse the presets without the need to configure them every time. Please note that some presets may rely on specific controllers though. For example, if a preset requires a velocity controller to provide velocity-dependent response, this option will avoid loading it, so the preset won’t be complete, until you reconfigure it.
Last note-on channel only
Last note-on channel only button makes the engine more suitable for voice-per- channel devices. These devices are able to send different controllers for each note you press, which however means that these could collide. This option makes the engine pass only the controllers that are related to the last note you pressed. For classic keyboards it is not relevant as you will usually use a single MIDI channel to transmit both the controllers and notes. Some more modern keyboard controllers will allow you to select one MIDI channel for the notes and a different one (or the same one) for the controllers.
Controllers
Reset
Reset button resets the selected controller to undefined state.
Up
Up button moves the selected controller up one item, if possible. This may be useful when keeping things organized, but please note that if you have some multiparameter, modulator or another subsystem access the ranges of individual controllers, this function will reorder them, so these connections will no longer be correct.
Down
Down button moves the selected controller down one item, if possible. This may be useful when keeping things organized, but please note that if you have some multiparameter, modulator or another subsystem access the ranges of individual controllers, this

function will reorder them, so these connections will no longer be correct.
ParameterIndex
ParameterIndex button lets you choose the parameter being controlled. The set contains all automatable parameters.
MIDI

Learn
Learn enables or disables MIDI learn. When enabled, the plugin listens to both the MIDI CC messages from the controllers that you touch and the target parameters that you touch and associates the last-touched of each with the selected slot. You can perform several mappings by selecting another slot, adjusting a hardware controller. Then adjusting a target parameter, and repeating those steps for each mapping desired.

Channel
Channel defines the controller MIDI channel.

Controller defines the source controller.

Controller

Values

Range mode
Range mode defines how the parameter range is selected. While sometimes it is better to specify minimum and maximum, other times it is better to use a nominal center and depth (% of full scale). This control allows you to define which one it will be.
Up and down mode makes the values go above and below the selected Value, which is considered the center. The interval is made smaller if necessary.
Full range mode is similar, except the range is symmetrically constrained, so the selected Value may not be the center anymore.
Up/down only modes goes from the selected value up/down only.
Let’s compare these 4 modes. Taking a value of -12dB value, with a depth of 75% and a scale of +/- 24dB. The nominal range is therefore = +/-24 dB 75% = 36dB. With values of 0%, 50% and 100% the outputs are: Up and down: -24, -12, 0 (range constrained to 12 dB either side) Full range: -24, -6, 12 (range limited to minimum, but not constrained) Up only: -12, 6, 24 (range not constrained = +/-24 dB 75% = 36dB) Down only: -12, -18, -24 (range limited to minimum)
Interval mode is the most simple one and goes from Value to Maximal value.

Value
Value defines the center of the target parameter’s range or the minimum if the Range mode is set to Interval.

Maximal value
Maximal value defines the upper limit of the target parameter’s range. It is available only if the Range mode is set to Interval. This value can be lower than Value. 0% is always mapped to reference>Value and 100% to reference>Maximal value.

Depth
Depth defines size of the target parameter’s range. It is used only if the Range mode is not set to Interval.

Invert checkbox inverts the controller shape, so the minimum becomes the maximum etc.

Invert

Interpolated
Interpolated makes the controller value interpolated over the time using the smart interpolation. This approach ensures there won’t be abrupt changes, which could lead to clicks and pops. However sometimes you may want to apply these changes immediately for example when changing ADSR based on the note velocity, in which case this parameter should be disabled.

Toggle
Toggle mode makes the controller switch between the maximum and minimum of the target parameter whenever triggered. By default triggering it means going from values below 50% to above 50%. By enabling Trigger you can make it perform the trigger everytime the value is changed.

Trigger
Trigger mode makes the controller automatically produce maximum and the minimum right after it. It can be handy with some buggy MIDI controllers providing buttons, which however do not send value 0, and only repeat value 127. Trigger makes it behave like the minimum was actually sent by the MIDI controller a little bit after the original message.

Main controllers panel

Main controllers panel lets you define the set of main MIDI controllers on your MIDI device. These are not stored with the presets, so using them lets you easily switch between MIDI controllers, create presets that will work for users of other MIDI controllers etc. Using the Main controllers is no different than using the standard MIDI controllers, but the extra ‘layer’ can make things simple when using multiple controllers and also in general situations where your MIDI device has several controllers with quite ‘random’ numbers.
Presets
Presets button displays a window where you can load and manage available presets. Hold Ctrl when clicking to load a random preset instead.
Left arrow
Left arrow button loads the previous preset.

Right arrow
Right arrow button loads the next preset.

Randomize
Randomize button loads a random preset.
Controller defines the MIDI controller associated to this Main controller.

Controller

Learn
Learn enables or disables MIDI learn. When enabled, the plugin listens to the controllers you touch and associates them to the main controller.

Notes panel

Notes panel contains settings of MIDI note controllers, if you want to control parameters using MIDI keys.
Note controllers

Reset
Reset button resets the selected controller to undefined state.

Up
Up button moves the selected controller up one item, if possible. This may be useful when keeping things organized, but please note that if you have some multiparameter, modulator or another subsystem access the ranges of individual controllers, this function will reorder them, so these connections will no longer be correct.
Down
Down button moves the selected controller down one item, if possible. This may be useful when keeping things organized, but please note that if you have some multiparameter, modulator or another subsystem access the ranges of individual controllers, this function will reorder them, so these connections will no longer be correct.
Learn
Learn enables or disables MIDI learn. When enabled, the plugin listens to both the notes you touch and the parameters you touch and associates them with the selected slot.
MIDI

Channel defines the controller MIDI channel.

Channel

Note
Note defines the controller’s target MIDI note. It is used only in On/off and Switch modes, which you can set using Mode parameter (in the Values panel).

Note min
Note min controls the lowest note to be used by a controller in Linear or Logarithmic mode. The minimum value of the target parameter will then be associated to this note. If both Note min and Note max parameters are default, the plugin takes the actual frequency of each note, and transforms it into the range 20Hz to 20kHz, which is the range used by all equalizers and filters, so that you can literally play a parameter on a MIDI keyboard. If you change either of these 2 parameters however, the plugin takes the range of notes as the requested interval. This is useful for example if you have a small MIDI keyboard used for soloing and you want increase some parameter the higher you play. In the default mode it would be difficult, since the range of frequencies is much bigger than the range of your MIDI keyboard.Set the Note min and Note max to C0 and B0 respectively, the Mode to Logarithmic and select a suitable target parameter (Dry/Wet is fine). Send MIDI notes in the specified range to the plugin and you will see the target parameter increase (by 9.09% (= 100 / (12-1)) for a 100% range).

Functional outside note range
Functional outside note range makes the note controller work even if the note isn’t in the specified range, clamping the value to the minimum or maximum.

Values

Mode
Mode controls how the controller works.

Key takes the note index and transforms it into 0..1, which is the output of any controller. This mode is useful for scale switches for example – if you want to use MIDI keys to change values linearily. Key (in octave) is similar but it has only 12 values – one per each key and it doesn’t matter which octave you press it in. Linear converts the notes into frequencies and then transform them into the linear scale from 20Hz to 20kHz. Logarithmic converts the notes into the frequencies and then into the logarithmic scale from log(20) to log(20000). A typical use case is when you want to control an equalizer band using a MIDI keyboard. Since EQ frequencies work in logarithmic scale, this mode makes both things compatible and the EQ frequency will be set to the note frequency. On/off modes react only to single notes and can be used for triggers. When the Note On is received the parameter is changed to its Max value and when the Note Off is received the parameter is changed to its Min value. So this mode can also be used to change between any 2 parameter values. Switch modes are similar, but only recognize when a note is pressed. The Note Offs are ignored. Note Ons select the Max value and Min value alternately. In all octaves mode it doesn’t matter which octave is used. For example, this is useful when you want to use any note C to switch something on and off. Velocity modes do not actually follow the note number being pressed, but it’s velocity instead. While you can do the same thing with normal MIDI controllers using the special Velocity controllers, this one allows you to select only some notes to follow.

Shift
Shift lets you shift the original note up or down by the specified number of semitones.

Min value
Min value defines the minimum value for the target parameter.

Max value
Max value defines the maximum value for the target parameter.
MIDI program change
Enable MIDI program change enables processing program change MIDI message.

Enable

Preset previous/next trigger panel

Preset previous/next trigger panel lets you select a MIDI controller, which will switch presets. It provides the same action as clicking the arrows next to the main preset button. When the controller value gets below 33%, the previous preset is loaded. When the controller value gets above 66%, the next preset is loaded.
Learn
Learn enables or disables MIDI learn.
Channel
Channel defines the controller MIDI channel.
Controller
Controller defines the source controller.

Simulate program change via controller panel

Simulate program change via controller panel lets you select a MIDI controller, that will work as program change, for convenience. You can use it then to switch between A-H presets or presets via panel below.
Learn
Learn enables or disables MIDI learn.
Channel
Channel defines the controller MIDI channel.
Controller
Controller defines the source controller.
Number of values
Number of values defines the number of programs to switch between. By default Program change MIDI standard offers 128 programs. However it may by too many and could be hard to actually control with the specific controller. Hence you can lower the number of actual programs.
Program change in presets panel
Program change in presets panel enables the MIDI program change processing. If disabled, the plugin follows Program Change messages by changing the A-H presets. The obvious disadvantage is that this way there are just 8 presets. By enabling this feature the plugin stops selecting A-H presets and rather loads different presets from the specified preset folder, including all sub- folders. The default folder is called “Programs”. To use it, you simply need to create a preset folder called Programs and put the presets into it. Note that the order matters of course. And you can change the folder name at any time, so you can have several sets of selectable presets.
Folder
Folder defines the preset folder from which the presets for program-change MIDI messages are taken.
Channel
Channel defines the program change MIDI channel.

Used controls
Here we discuss the general properties of all application controls. As a most important rule you should note, that you can always use any question mark button or F1 (or Ctrl+F1 or Ctrl+H) key with the mouse cursor over a specified control to get detailed information about what it does and how to use it.
Switcher
Switcher is an alternative to a tracker or knob control, but it has a limited set of values. Left mouse button shows a menu with list of all possible values. This function might be unavailable in certain cases when the number of possible values is too high. Right mouse button shows a menu with additional options. Hold ctrl/cmd to select the default value. Up and Down arrow keys, buttons in the control and mouse-wheel increase or decrease the value.
Zoomer
Zoomer provides a simple way to zoom and move in an enlargeable view. Plus button zooms-in. Minus button zooms-out. Zoom default button zooms to the default ratio, which typically means full zoom-out. Lock button locks the zoom ratio.
Knob
Knob simulates physical knobs used to edit various values. Click and drag using the left mouse button to change the value. Right mouse button shows a menu with additional options. Hold ctrl/cmd to select the default value. Mouse wheel, arrow keys and vertical drag using middle mouse button or using left mouse button while holding Ctrl modifies the value more precisely. Home key configures the minimal possible value, conversely end key setups the maximal one. Esc or Backspace keys restore the original value when either one is pressed during dragging. Shift + left mouse button or double-click using left mouse button lets you edit the value as text. You can use the virtual keyboard or type on your computer keyboard. In some cases this shows a menu with all possible values instead. Alt + press then release measures the time between the press and the release and applies it as time/frequency tap. Usable only for certain values of course.
Graph editor
Graph editor will show and edit one or more graphs. Zoomers below and on the right control the zoom amount and position of the view. Mouse wheel zooms in or out. Hold Shift to move the view horizontally instead, without zooming. Hold Ctrl to move the view vertically instead, without zooming. Alternatively you can zoom in using Alt + right button double click and out using Alt + left

button double click. You can also use keyboard numbers 0 to 9 to quickly set the zoom level. Drag a rectangle using the left mouse button while holding Alt zooms into the selected rectangle if possible. Drag using the left mouse button while holding Alt and Ctrl to scroll the view. This is not possible when zoomed all the way out as there is nothing to scroll.
Piano
Piano provides an easy way to mark a set of keys for some purpose. Left mouse button marks or unmarks a particular key. Mouse-wheel or border buttons scroll the piano if the display does not fit in the available space.

Installation, activation, introduction to audio plugins
Installation
All MeldaProduction plugins are currently available for Windows and Mac OS X operating systems, both 32-bit and 64-bit versions. You can download all software directly from our website. Since the installation procedures for the two operating systems are quite different, we will cover each one separately.
The download files for the effects include all the effects plug-ins and MPowerSynth. During the installation process you can select which plug-ins or bundles to install. If you have not licensed all of the plugins in a bundle then you just need to activate each plugin separately.
If you have multiple user accounts on your computer, always install the software under your own account! If you install it under one account and run it under a different one, it may not have access to all the resources (presets for example) or may not even be able to start.
Installation on Windows
All plugins are available for VST, VST3 and AAX interfaces. The installer automatically installs both the 32-bit and 64-bit versions of the plugins.
Note: Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts. 64-bit plugins cannot work in 32-bit hosts even if the operating system is 64-bit. Conversely, never use 32-bit plugins in 64-bit hosts. Otherwise they would have to be ‘bridged’ and, in some hosts, can become highly unstable.
You can select the destination VST plugins paths on your system. The installer will try to detect your path, however you should check that the correct path has been selected and change it if necessary. In all cases it is highly recommended to use the current standard paths to avoid any installation issues: 32-bit Windows: C:Program filesVstPlugins
64-bit Windows: C:Program files (x86)VstPlugins (for 32-bit plugins) C:Program filesVstPlugins (for 64-bit plugins)
If your host provides both VST and VST3 interfaces, VST3 is usually preferable. If a plugin cannot be opened in your host, ensure the plugin file exists in your VST plugin path and that if your host is 32-bit, the plugin is also 32-bit, and vice versa. If you experience any issues, contact our support via info@meldaproduction.com
Installation on Mac OS X
All plugins are available for VST, VST3, AU and AAX interfaces. Installers create both 32-bit and 64-bit versions of the plugins.
If your host provides multiple plugin interface options, VST3 is usually preferable. If you experience any issues, contact our support via info@meldaproduction.com
Most major hosts such as Cubase or Logic should work without problems. In some other hosts the keyboard input may be partly nonfunctional. In that case you need to use the virtual keyboard available for every text input field. You may also experience various minor graphical glitches, especially during resizing plugin windows. This unfortunately cannot be avoided since it is caused by disorder in Mac OS X.
Uninstallation on Windows
The Uninstaller is available from the Start menu and Control panel, in the same way as for other applications. If you don’t have any of these for any reason, go to Program files / MeldaProduction / MAudioPlugins and run setup.exe.
Uninstallation on OSX
The Uninstaller is available from Applications / MeldaProduction / MAudioPlugins / setup.app.
Deleting all data, presets etc.
Even if you uninstall the plugins, some data will be left behind – because of potential crossdependencies or because these are your presets, settings, configurations etc. If you want to wipe out everything, please manually delete following folders:
Windows: C:ProgramDataMeldaProduction

C:Users{username}AppDataRoamingMeldaProduction
OSX: Macintosh HD/Library/Application support/MeldaProduction/ HOME/Library/Application support/MeldaProduction
Performance precautions
In order to maximize performance of your computer and minimize CPU usage it is necessary to follow a few precautions. The most important thing is to keep your buffer sizes (latency) as high as possible. There is generally no reason to use latency under 256 samples for 44kHz sampling rates (hence 512 for 96kHz etc.). Increasing buffer sizes (hence also latency) highly decreases required CPU power. In rare cases increasing buffer sizes may actually increase CPU power, in which case you can assume your audio interface driver is malfunctioning.
You should also consider using only necessary features. Usually the most CPU demanding features are oversampling and modulation of certain parameters. You can reduce modulation CPU usage at the cost of lower audio quality in Settings/Settings/Modulator protection.
Troubleshooting
The plugins are generally very stable, there are known problems however.
GPU compatibility
The software uses hardware acceleration to move some of the processing (mainly GUI related) from your CPU (processor) to your GPU (graphics processing unit). It is highly recommended to use a new GPU, as it will provide higher performance improvements, and update your GPU drivers. Older GPUs are slower and may not even provide required features, so the software will have to perform all calculations in the main CPU. We also have had extremely bad experiences with GPUs from ATI and despite the fact that software is now probably bulletproof, it is recommended to use NVidia GPUs as there has not been a single case of a problem with them.
If you experience problems with your GPU (crashing, blank/dysfunctional GUI), and that you cannot disable the GPU acceleration from the plugin’s Settings window itself, download this file:
http://www.meldaproduction.com/download/GPU.zip
And place the GPU.xml included in the zip into
Windows: C:Users{username}AppDataRoamingMeldaProduction Mac OS X: ~/Library/Application support/MeldaProduction
Memory limits of 32-bit platform
Most hosts are now 64-bit ready, however some of them are not or users willingly choose 32-bit edition, because the required plugins are not 64-bit ready yet. All our software is 64-bit ready. Please note that you must NOT use the 64-bit plugins in 32-bit hosts, even if you have a bridge. If you are stuck with a 32-bit host for any reason, note that there is a memory limit (about 1.5 GB), which you may not exceed. This can happen if you load too many samples or different plugins for example. In that case the host may crash. There is no other solution than to use a 64-bit host.
Updating
You can use “Home/Check for updates” feature in any of the plugins. This will check online if there is a newer version available and open the download page if necessary.
To install a newer (or even older) version you simply need to download the newest installer and use it. There is no need to uninstall the previous version, the installer will do that if necessary. You also do not need to worry about your presets when using the installer. Of course, frequent backup of your work is recommended as usual.
Using touch-screen displays
Touch screen displays are supported on Windows 8 and newer and the GUI has been tweaked to provide a good workflow. Up to 16 connections/fingers/inputs are supported. Any input device such as touch-screens, mouse, tablets are supported. These are the main gestures used by the plugins: – Tap = left click – Double tap = double click – Tap & hold and quickly tap next to it with another finger = right click. Tap & hold is a classic right-click gesture, however that doesn’t provide a good workflow, so came up with this method, which is much faster and does not collide with functionality of some elements.

Purchasing and activation
You can purchase the plugin from our website or any reseller, however purchasing directly from our website is always the quickest and simplest option. The software is available online only, purchasing is automatic, easy and instant. After the purchase you will immediately receive a keyfile via email. If you do not receive an e-mail within a few minutes after your purchase, firstly check your spam folder and if the email is not present there, contact our support team using info@meldaproduction.com so we can send you the licence again.
To activate the software simply drag & drop the licence file onto the plugin. Unfortunately some hosts (especially on Mac OS X) either do not allow drag & drop, or make it just too clumsy, so you can use Home/Activate in any of the plugins and follow the instructions. For more information about activation please check the online video tutorial.
You are allowed to use the software on all your machines, but only you are allowed to operate the software. The licences are “to-person” as defined in the licence terms, therefore you can use the software on all your computers, but you are the only person allowed to operate them. MeldaProduction can provide a specialized licence for facilities such as schools with different licence terms.
Quick start with your host
In most cases your host will be able to recognize the plugin and be able to open it the same way as it opens other plugins. If it doesn’t, ensure you did installation properly as described above and let your host rescan the plugins.
Cubase
Click on an empty slot (in mixer or in track inserts for example) and a menu with available plugins will be displayed. VST2 version is located in MeldaProduction subfolder. However VST3 version is recommended and is located in the correct folder along with Cubase’s factory plugins. For example, dynamic processors are available from the “Dynamics” subfolder.
To route an audio to the plugin’s side-chain (if it has one), you need to use the VST3 version. Enable the side-chain using the arrow button in the Cubase’s plugin window title. Then you can route any set of tracks into the plugin’s side-chain either by selecting the plugin as the track output or using sends.
To route MIDI to the plugin, simply create a new MIDI track and select the plugin as its output.
Logic
Choose an empty insert slot on one of your audio tracks (or instrument tracks for example) and select the plugin from the popup menu. You will find it in the Audio Units / MeldaProduction folder.
To route an audio to the plugin’s side-chain (if it has one), a side-chain source should be available in the top of the plugin’s window, so simply select the source track you want to send to the plugin’s side-chain.
To route MIDI to the plugin, you need to create a new Instrument track, click on the instrument slot and select the plugin from AU MIDIcontrolled Effects / MeldaProduction. The plugin will receive MIDI from that track. Then route the audio you want to process with the plugin to this track.
Studio One
Find the plugin in the Effects list and drag & drop it onto the track you would like to insert the plugin to.
To route an audio track to the plugin’s side-chain (if it has one), first enable the side-chain using the “Side-chain” button in the Studio One’s plugin window title. Then you can route any set of tracks into the plugin’s side- chain from the mixer.
To route MIDI to the plugin, simply create a new MIDI track and select the plugin as its output.
Digital performer
In the Mixing Board, find an empty slot in the track you would like to insert the plugin to. Click on the field and select the plugin from the effects list.
To route an audio track to the plugin’s side-chain (if it has one), choose the track you want to send using Side-chain menu, which appears at the top of the DP’s plugin window.
To route MIDI to the plugin, simply create a new MIDI track in the Track view and select the plugin as its output.
Reaper
Click on an empty slot in the mixer and a window with available plugins will be displayed. Select the plugin you want to open by double clicking on it or using Ok button.
It is highly recommended to select all MeldaProduction plugins in the plugin window the first time you open it, click using your right mouse button and enable “Save minimal undo states”. This will disable the problematic Undo feature, which could cause glitches whenever you change certain parameters.

To route an audio track to the plugin’s side-chain (if it has one), click on I/O button of the side-chain source track in the mixer. Routing window will appear, there you click “Add new send” and select the track the plugin is on. In the created send slot select the channels (after the “=>” mark) for the send, in stereo configuration 3/4 for example. Note that this way the whole track receives the side-chain signal and all plugins with it. It is possible to send it to a single plugin only, but it is more complicated, please check the Reaper’s documentation about that.
To route MIDI to the plugin, create a new MIDI track and do the same thing as with side-chain, except you don’t need to change output channels.
Live
In Session view, select the track you would like to insert the plugin to. At the left top of Ableton Live’s interface, click on the Plug-in Device Browser icon (third icon from the top). From the plug-ins list choose the plugin (from MeldaProduction folder), double click on it or drag & drop it into the track.
The X/Y grid usually doesn’t provide any parameters of the plugin. This is because the plugins have too many of them, so you have to select them manually. Check Live’s documentation for more information.
To route an audio to the plugin’s side-chain (if it has one), select the track you want to send to the side-chain and in the ‘Audio To’ menu, choose the audio track that has the plugin on it. Then in the box just below that select the plugin from the menu.
NOTE: Live does NOT support any interface correctly, it doesn’t use the reported buses properly, hence it doesn’t work with surround capable plugins. Therefore you need to use VST version, which reports only stereo capabilities by default.
To route MIDI to the plugin, create a new MIDI track and in the ‘MIDI to’ menu, choose the audio track that has the plugin on it. Note that in Live only the first plug-in on any track can receive MIDI.
ProTools
In the mixer click an empty slot to insert the plugin to and select the plugin from the tree. The plugin may be present multiple times, once for each channel configuration (mono->stereo etc.). As of now ProTools do not arrange them in the subfolders, which is a workflow dealbreaker, but we cannot do anything about it. The huge empty space on top of each plugin window, which occupies so much of the precious display area, is part of ProTools and every plugin window and again we cannot do anything about it. In some cases you may experience CPU overload messages, in which case please contact Avid for support. Note that ProTools 10 and newer is supported. RTAS compatibility for PT9 and older will never be added.
To route an audio to the plugin’s side-chain (if it has one), open the plugin, click on the No key input button in the plugin title and select the bus you want the audio taken from. You might need to remember the bus number, unless your ProTools version supports bus renaming. ProTools doesn’t support stereo (or surround) side-chains at all.
To route MIDI to the plugin, create a new MIDI track and in the mixer click the output field for that track and select the plugin, which should already be in the menu.
FL Studio
First make sure plugins are scanned, either a full scan through the Plugin Manager or an automatic fast scan when you open the Plugin Database section of the browser in FL. The scanned plugins will show up in the Plugin Database > Installed section of the FL browser. The Effects and Generators sections in the Plugin Database will show all “favorite” plugins. These can be checked and unchecked in the Plugin Manager or added in some other ways. These favorites also show up in the Add menu, the menu for the “+” button in the channel rack, when you right click an existing channel button to replace or insert, in the plugin slot menu in the mixer and in the plugin picker (F8). The menus with favorite plugins also have a “More” choice that will show all scanned plugins. The full explanation is in our help file, on the page Installing Plugins.
To route an audio to the plugin’s side-chain, first set up the mixer: make sure the track you want to receive audio from is sent to the track the plugin as a sidechain (help). Then set up the plugin wrapper: choose the desired input on the Processing tab of the wrapper options.
To route MIDI notes to the plugin, first configure the sender: choose a MIDI port for the input device in the MIDI settings (for a hardware device), or an output port in the wrapper options (for a VST plugin that produces MIDI). For the receiving plugin, set the input port in the wrapper options to the same value you chose in step 1.
To route MIDI controllers, the procedure is different. The usual method in FL is to link CC messages to plugin parameters (help file). VST plugins will also have 128 CC parameters published (through the wrapper) that can be linkes this way. Those will send the specified CC MIDI message to the plugin, instead of changing a published parameter.
GUI styles, editor modes and colors
MeldaProduction plugins provide a state of the art styling engine, which lets you change the appearance to your liking. The first time you run the plugins a style wizard will appear and let you choose the style and other settings. It may not be available in ProTools and other problematic hosts.
By default each plugin has a certain color scheme, which differs based on what kind of plugin is that. Also, sections of some plugins are colorized differently, again, based on what kind of section is that (this can be disabled in global settings). Despite you can change the colors anyhow you want, it is advantageous to keep the defaults as these are standardized and have predefined meaning, so just by looking at a plugin’s color you can immediately say what kind of plugin and section is that. Same rules apply when designing devices for easy screens. This is the current set of colors:
Dynamics = orange

Equalization, filtering = green Reverb, delay = brown/yellow Modulation = blue Distortion, limiting = red Stereo = cyan/yellow Time, pitch, unison… = purple/pink Tools = grey Special colors: Synchronization = grey Detection = blue/green Side-chain = green Effects = red Advanced stuff = grey
About MeldaProduction
The best sound on the market, incredible workflow and versatility beyond your imagination. We create the deepest and the most powerful audio plugins with unbelievable sound and tons of unique features you cannot find anywhere else.
Innovative Thinking
At MeldaProduction, we make the most advanced tools for music production and audio processing. We get inspired by the whole range of tools from the ancient analog gear to the newest digital creations, but we always push forward. We’ve always felt the audio industry is extremely conservative, still relying on the prehistoric equipment making the job unnecessarily slow and complicated. That’s why we invent new technologies, which make audio processing easier, faster, better sounding and more creative.
Sound Matters
In the world full of audiophiles you just need superb audio quality. And that’s why we spend so much time perfecting audio algorithms until they sound unbeatable. Everything from dynamic filters to spectral dynamic processing. Our technologies just sound perfect.
Inspiring User Interface
Modern user interfaces must not only be easy and quick to use, but also versatile and the whole visual appearance should inspire you. MeldaProduction plugins provide the most advanced GUI engine on the market. It is still the first and only GUI engine, which is freely resizable and stylable. Our plugins can look as an ancient vintage gear, if you are working on old-school rock music. Or as super-modern

futuristic devices if you are working on modern electronic music.
Easy to Use, Yet Versatile
The only limit is your imagination. Our plugins are with absolutely no doubt the most powerful and versatile tools on the market. Yet we managed to make the plugins easy to use via the devices and smart randomization system. But when you are ready, you are one click away from the endless potential the plugins provide.
Never-Ending Improvements
Most companies create a plugin, sell it and abandon it. We improve our plugins, add features, optimize… until there is nothing left to improve and there are no more ideas. Unfortunately that hasn’t happened yet :). And the best thing is that the updates are free-for-life! MeldaProduction was founded in 2009 by Vojtech Meluzin and is based in Prague, Czech Republic. www.meldaproduction.com info@meldaproduction.com MeldaProduction (c) 2017

References

• MeldaProduction
• MeldaProduction
• Linking External Controllers
• Installing Plugins
• Mixer Explained
• Plugin Wrapper
• Plugin Wrapper

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