Sonible introduces “the world’s first multitrack EQ” plugin: can smart:EQ 3 fix your mix with a single click?

Sonible has announced that smart:EQ, its intelligent EQ plugin, has just got even smarter. As well as working on single audio tracks, this can also operate across multiple channels, making it “the world’s first multitrack EQ”.

What’s more, smart:EQ 3 is designed to work with a single click - press the button and it will analyse any given audio track and amend spectral deficiencies, including disturbing resonances, unwanted notches or an overall spectral imbalance.

You can adapt the so-called smart:filter to your requirements, and it’s said to provide the basis for further creative steps.

The group view, meanwhile, offers “intelligent cross-channel processing”, and is designed to help you correct cluttered and clashing frequency regions within a group of up to six channels.

You can arrange multiple audio tracks in a ‘sonic hierarchy’ of three layers; each track is then analysed and fixed, with the AI-powered algorithms employing spectral mixing techniques to ensure that each track gets its assigned space.

Over in the EQ view, carried over from the previous version, there’s an even leaner and hopefully more intuitive interface than before, with new features to improve your workflow.

These include filter widgets, a dynamic mode that adapts to the incoming audio signal in real time, and the option to switch between linear phase and zero latency filters.

Behind all of these features is the latest version of Sonible’s smart:engine, which is now even more powerful.

smart:EQ 3 is available now for the introductory price of €89, rising to €129 on 7 June. It’s offered for PC and Mac in VST/AU/AAX formats, and you can download a 30-day demo.

Find out more on the Sonible website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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