When sculpting the sound of his software synths, Kaskade lists the Massenburg MDW Hi-Res EQ as one of his favorites.

Used for the vocals and electric guitar on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the settings for the "vocal buss" can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

(...) Guitars: Massenburg DesignWorks EQ, Sound Toys Echoboy, Cooper Time Cube, Digidesign delay, Audio Ease Altiverb

(...) "I also used an Echoboy for delay on certain sections, like in the choruses. There was a little bit of bus compression on the guitars and a little bit of EQ, all very minor stuff, because I had already recorded what I wanted. The only radical EQ is on the Cooper Time Cube delay, which I described above, and which I applied to Caleb's guitar. I took out everything below 861Hz to get rid of the darker tone that was obscuring the source tone a bit. There's also a bit of Digirack delay on Caleb's guitar, to give it a bit more dimension by panning it to the other side than the track itself."

“We use the Neumann M150 to record Tom’s vocals at the Clubhouse, because it has a tight pattern which diminishes the amount of bleed. You can see the verse lead vocal track, and immediately below it two vocal fix overdubs, because Tom changed a couple of lines, and below that the ‘Voc Amb’ track, which is the ambient mic that I always have set up close to Tom, pointed away from him. If I have to drop in a line, I can add some of the ambience that was on the original vocal mic. I also put that ambience at the beginning of the song before the vocal comes in. The verse vocal has a substantial effect on it, coming from the Decapitator, set on the ‘Old Radio Voice’ preset. Tom has this character in his lyrics, and he felt that it enhanced it to make it more lo-fi. It also meant that his voice sounds bigger in the choruses, when the effect disappears. The verse vocal goes through the 1176 and the MDW, with which I’m just rolling off some low end and adding at 8kHz.

“The chorus vocal is from the same live take, moved to a different track because I applied different processing. It also had the 1176 and MDW. I pushed a lot of 3kHz, to get it to cut through more. Tom sang the chorus part rather softly, because it fit his character, so it needed EQ to come out more in the track. All the vocal harmonies in the track were recorded at Tom’s place. Below the vocals there’s the ‘Vox slap delay’ aux track, which has the Digi Long Delay set at 150ms, and I ran it through the Decapitator, at the same setting as the snare drum.”

the website article states on the 4th picture's legend that Massenburg EQ plugin was used on several different moments of Eminem's productions.

Used on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the settings for Caleb Followill's "vocal buss" reveals it to be the 3.0 version, then the latest version.

• Drums: Massenburg DesignWorks EQ, Bomb Factory BF76, Digidesign Lo–fi, Quad 8 EQ, Chandler TG1, Sontec EQ, Audio Ease Altiverb

"I cut the kick around 255Hz to get rid of some honkiness, and added some 11k on the snare, both with the Massenburg DesignWorks. I also cut a tiny bit around 263Hz on the overheads, and sent them through a Bomb Factory BF76, which is a plug–in version of the 1176, just to control the snare transients a little bit in the overhead picture. I also EQed the toms to roll back some of the tubbiness on them. There's a Lo–fi plug-in on Room 1, to take the cymbal wash down and dirty it up; when you reduce the sample rate and bit depth you also lose high frequencies. I cut everything below 206Hz with the Massenburg on the Simmons drums to clean up any unwanted frequencies. For the rest, there's nothing dramatic on the drums, just some specific shaping with digital EQs and opening up the top and bottom with outboard or the Quad 8 EQ. All the drums were bussed and sent to an outboard compressor, the Chandler TG1, for parallel bus compression. I also had a Sontec EQ on the drum bus. The Altiverb works primarily on the snare, kick and toms, just to give them a little bit more space. I set it to a room at Ocean Way Studios, so it's not a big splashy reverb."

Used on The Fall, as stated by assistant engineer Brad Bivens in an editor's note in this February 1, 2010 Electronic Musician interview with Jones, producer Jacquire King (whose words the editor's note intersects) and Bivens. At the time, 3.0 was the latest version of the software.

The only thing I brought along was the Universal Audio 2-610. [“And the Massenburg MDW Hi-Res Parametric EQ to add extra fluidity to every channel,” Brad Bivens adds.]

"The Session of 'You're Nobody Till Somebody Loves You', consisted of about 46 tracks. I mixed the whole album in Los Angeles, at Capitol Studio B on the old Neve 8068 there. It's a fabulous studio with a wonderful sound. I ended up so pleased with all my mixes on Crazy Love. They're all fat and well-defined-sounding, with incredible punch. I did a few things in Pro Tools, just a compressor here and there to get things to sound tight and to have more control, and I used the George Massenburg EQ plug-in to clean up some vocal proximity [low-frequency boost] and straighten out some other things. Michael sang some of the vocals in Vancouver and some in LA, and I needed to match these. But everything else in the mixes was done on the desk and with outboard."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

Crazy Love was released in 2009, predating version 5.0 and Universal Audio's Massenberg EQ by five years. This means that Gatica used the Avid 3.0 plug-in.