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Although Har-Bal is capable of spectrum matching, I feel that this aspect of its capabilities is extremely minor. I view it as a linear/minimal phase spline equalizer with a spectrum analyzer which gives a good representation of the measured power or energy of the entire track. In my limited Har-Bal experience (2 months of experimentation), it works well to identify potential problem areas which may benefit from judicious equalization to optimize the track or mix. It may help reveal unwanted room resonance areas on the spectrum and subtle peaks and valleys which detract from the music. So I view it as an audio restoration tool as much as anything else.
But for God's sake...it is just a tool! The most important element in using a tool is the operator! Like anything else, you need to use your ears, judgement and good old fashioned common sense. If I use it and the track or mix is better...then I have applied it correctly to the problem! Is it capable of helping unmask overlapping instruments with similar spectra? Sure...in some cases. Because of the simple interface, I find it can be be used to make very subtle changes for the better....but can also be used as a sledgehammer when used overzealously, so you need to be even more thoughtful of each change you make.
I consider this to be a great program to have in my sonic arsenal. I also use Voxengo Curve EQ, Voxengo Soniformer, Paul Frindle's Dynamic Spectrum Mapper and a number of others....some general purpose and some more specialized. At this point, I primarily look at Har-Bal as a tool to help tweak my mixes on the 2-Bus to get them mastering-ready. I would always prefer to have an objective set of ears do the mastering on a project I have recorded and mixed.
It just seems to me that people get stuck on the spectrum-matching and fail to see the real utility that this program is capable of (yeah...I know....a preposition is something you never end a sentence with.)
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