Top 80 EQ VST plugins 2020

We have collected for you the top 54 VST plugins EQ according to PluginBoutique.

VST list navigation

  1. FabFilter Pro-Q 3 EQ
  2. T-Bone
  3. MAutoDynamicEQ
  4. smart:EQ 2
  5. TDR Nova GE
  6. PSP NobleQ
  7. TDR VOS SlickEQ GE
  8. Blue Cat’s MB-7 Mixer V3
  9. PSP E27
  10. Black Q
  11. Equalize
  12. TDR SlickEQ M
  13. McQ
  14. AE600 Active EQ Native
  15. EVE-AT Bundle
  16. Voxengo GlissEQ
  17. EVE MP5 50’s Equalizer
  18. Slice EQ
  19. Carve EQ
  20. PSP preQursor2
  21. MDynamicEq
  22. RZ062 Equalizer
  23. MAutoEqualizer
  24. DeFilter
  25. Oxford Dynamic EQ
  26. The Hoser XT (inc Free copy of The Hoser)
  27. Trident A-Range
  28. Chandler Limited® Curve Bender Mastering EQ
  29. EVE-AT1
  30. 4020 Retro EQ Native
  31. 6020 Ultimate EQ Native
  32. Passive-Active Pack
  33. Sie-Q
  34. MFreeformEqualizer
  35. smart:EQ live
  36. Tonelux Tilt and Tilt Live
  37. Oxford EQ V3
  38. Tube-Tech Equalizer Collection
  39. Pivot
  40. MFreeformAnalogEQ
  41. Tube-Tech ME 1B Mid-Range Equalizer
  42. AE400 Active EQ Native
  43. SEQ-ST
  44. MEqualizerLP
  45. Blue Cat’s Liny EQ
  46. Summit Audio EQF-100
  47. Voxengo Curve EQ
  48. Stereoplacer
  49. MTurboEQ
  50. Oxford SuprEsser DS
  51. KickBox
  52. Overtone
  53. Percolate
  54. proximity:EQ+
  55. Helper Equalizer
  56. sonible frei:raum EQ
  57. Pro EQ
  58. SplineEQ
  59. Analogue Collection
  60. Fatmaker
  61. entropy:EQ+
  62. Pro Series EQ
  63. Voxengo PrimeEQ
  64. Picante
  65. RP-EQ
  66. EVE-AT4
  67. Voxengo HarmoniEQ
  68. +10db Equaliser
  69. Crystal EQ
  70. The Hoser
  71. AE600 Active EQ HD
  72. AE400 Active EQ HD
  73. Voxengo BMS
  74. Oxford EQ – HD/HDX
  75. SEQ-S
  76. 4020 Retro EQ HD
  77. 6020 Ultimate EQ HD
  78. Oxford Dynamic EQ HD/HDX
  79. SantaCruzEQ12
  80. SantaCruzEQ6

1. FabFilter Pro-Q 3 EQ

by FabFilter

FabFilter Pro-Q 3 EQ

Unrivalled Sound and Workflow

An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best! With FabFilter Pro-Q 3, you get the highest possible sound quality and a gorgeous, innovative interface with unrivalled ease of use.

Mixing and Mastering Features

Pro-Q 2 offers everything that a demanding engineer could wish for: top quality linear phase operation in addition to the zero latency and unique Natural Phase modes, Mid/Side processing, variable stereo placement of EQ bands, an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.

Effortlessly Sculpt Your Sound

FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.

Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!

FabFilter Goodies

Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more!

Key features

  • Highest possible sound quality
  • Up to 24 EQ bands
  • NEW – Optional Dynamic EQ mode for all bands (Bell and Shelf shapes), using any slope setting and with perfect analog matching
  • IMPROVED – Gorgeous Retina interface with large interactive EQ display, multi-band selection and editing for maximum ease of use and efficiency
  • NEW – Ultra-steep ‘Brickwall’ slope setting for LP and HP filters
  • NEW – Full surround support (up to Dolby Atmos 7.1.2) with intelligent speaker selection
  • NEW – External spectrum visualization from any other Pro-Q 3 instance, including collision detection
  • NEW – Per-band mid/side or left/right processing, so you can EQ the mid, side, left or right signals separately
  • Operates in zero latency mode, linear phase mode with adjustable latency or the unique Natural Phase mode
  • NEW – Flat Tilt filter shape, a flat tilting correction curve over the whole audible frequency spectrum
  • IMPROVED – Spectrum Grab: just grab and adjust a peak in the real-time spectrum analyzer right away!
  • Different interface sizes and additional Full Screen mode
  • IMPROVED – Filter shapes: Bell, Notch, High/Low Shelf, High/Low Cut, Band Pass, Tilt Shelf, Flat Tilt
  • Universal filter slope support for all filter types, up to 96 dB/oct
  • IMPROVED – EQ Match feature to automatically match the spectrum of another Pro-Q 3 instance or an external signal
  • IMPROVED – Built-in spectrum analyzer with Pre-EQ, Post-EQ and external spectrum visualization, adjustable range, speed, resolution, tilt, freeze and collision detection
  • Auto Gain and Gain Scale
  • Optional piano roll display to quantize EQ frequencies to musical notes
  • Different display ranges: 3 dB and 6 dB ranges for mastering, 12 dB and 30 dB for mixing
  • Intelligent solo mode makes it easy to find problem frequencies and hear the effect of a band
  • Phase Invert option to change polarity
  • Large output level meter with peak level readout
  • Extreme CPU optimization: Pro-Q 3 uses very little CPU and memory, so you can use hundreds of instances in a session
  • GPU-powered graphics acceleration
  • Double-click text entry of parameter values
  • IMPROVED – Supports stereo, mono and surround channel layouts (up to Dolby Atmos 7.1.2)
  • Supports common Pro Tools hardware control surfaces
  • IMPROVED – MIDI Learn with option to control the currently active band
  • Undo/redo and A/B comparison
  • Smart Parameter Interpolation
  • Sample-accurate automation of all parameters
  • Extensive help file with interactive help hints
  • Available in VST, VST3, Audio Units, AAX Native and AudioSuite formats (all both 64-bit and 32-bit)

System Requirements

Windows

  • 64-bit: Windows 10, 8, 7 or Vista
  • 32-bit: Windows 10, 8, 7, Vista or XP
  • VST 2/3 host or Pro Tools

Mac OS X

  • OS X 10.8 or higher
  • AU or VST 2/3 host or Pro Tools
  • Intel processor

Plug-In Formats:

  • All FabFilter plug-ins are available in VST, VST3, Audio Units, AAX Native and AudioSuite formats (all both 64-bit and 32-bit)

2. T-Bone

by Boz Digital Labs

T-Bone

T-Bone uses custom filters that do not have any of the wonky side effects to your high end that most digital filters have. No matter what sample rate you are using, T-Bone will give you a smooth natural curve right up to Nyquist frequency.

T-Bone is a slant EQ at heart, with a few extra features that just make it that much more useful.

What is a Slant EQ?

A slant EQ is a filter that simultaneously boosts one end of the frequency spectrum while attenuating the other end. As it turns out this is an amazingly useful tool for brightening or darkening your tracks very quickly. Another reason this is super handy is that it allows you to change the tone of your track without changing the overall level. With traditional EQ plugins, as you boost certain frequencies, the overall sound gets louder. The problem with this is that our brains have the screwy little feature where louder music tends to sound better (even if it actually sounds worse. Make sense?). A slant EQ works around that special feature in our brain so that you aren’t deceived by the changing level and you can know instantly if your are improving or worsening your sound.

Extra Features

While a slant EQ is a very handy filter to have, we have added a few features that make it even easier to dial in the sound you need. We included a high pass filter with resonance control (think Bark of Dog) and low pass filter with resonance (henceforth to be known as Meow of Cat). We also came up with this super hand feature called Boom and Harsh Control. Sometimes adding extreme amounts of slant EQ can have some nasty side effects. If slanted too far to the left, you can end up with a lot of low end build up. Slant too far to the right and you can get too much harsh high end. The Boom and Harsh Control lets you add massive amounts of slant without getting  harsh or boomy. It’s really an essential part of what makes this plugin so easy to use. We also added mid/side mode and an analog mode that adds subtle distortion and compression to your sound. Enable that for some grit, or disable for super clean tone shaping.

Clean filters Without the CPU Hit

During the development of this plugin, we created some incredibly smooth filters that don’t have any of the crazy side effects on your high frequencies (technically known as wonk). Our wonkless filters not only give you a smooth frequency response all the way up to Nyquist frequency, but they do this without adding that CPU hit that oversampled filters take.

System Requirements

Available Formats

  • Windows (32/64): VST2, VST3, RTAS, AAX Native
  • Mac (32/64): AU, VST2, VST3, RTAS, AAX Native

3. MAutoDynamicEQ

by MeldaProduction

MAutoDynamicEQ

MAutoDynamicEQ is the ultimate “go-to” parametric equalizer, that combines astonishing versatility with ease-of-use to produce a really musical sound. Inspired by the analog world, but taking advantage of the digital!
Melda Production’s Adjustable Slope Filter (MASF) technology gives you natural sounding, versatile filters that are free of the resonance associated with other equalizers. Each highly adjustable and dynamic band let’s you fix problems easily, whether you are putting together a mix, or, tackling compression, expansion or de-essing tasks.

Melda Production’s Filter Adaption (MFA) technology can actually perform your equalization for you based on an analysis of your recording, another recording or even your own ‘drawn-in’ spectral content!

They’ve included a whole host of other useful features too. Their integrated analyzer and sonogram lets you quickly see the structure of your audio material, while the high-pass and low-pass filters offer slopes from 6dB/oct up to 120dB/oct. There’s also soft-saturation that adds a character normally only associated with analog consoles. And of course there is mono/stereo processing, upsampling, A/H presets and much more! The plugin even comes with 4 advanced modulators, just in case you feel like being creative..

MAutoDynamicEQ is extremely versatile, useful for everything from mixing to mastering!
You can make your recordings sound professional. You can ensure all of your recordings on your new album sound similar. You can let MAutoDynamicEq fit a track into a mix using spectral separation feature. You can draw your desired frequency response. In any case MAutoDynamicEq will find the best settings and configure the parametric equalizer bands for you.

Features

  • The most advanced user interface on the market – stylable, resizable, GPU accelerated
  • Unique visualisation engine with classic meters and time graphs
  • exceptionally versatile modulators
  • Adjustable oscillator shape technology
  • 4 multiparameters
  • M/S, single channel, up to 8 channels surround processing…
  • Smart randomisation
  • Automatic gain compensation (AGC)
  • Safety limiter
  • Adjustable up-sampling 1x-16x
  • MIDI controllers with MIDI learn
  • Very fast, optimised for SSE/SSE2/SSE3 processors
  • Global preset management and online preset exchange
  • Supports VST, VST3, AU and AAX interfaces on Windows & Mac, both 32-bit and 64-bit
  • No dongle nor internet access is required for activation
  • Free-for-life updates

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

4. smart:EQ 2

by sonible

smart:EQ 2

smart:EQ 2 enhances detail, clarity and transparency of your mixes after only a few tweaks. Experience a mixing workflow faster than ever before.

  • Revolutionary learning ability powered by smart:engine
  • A.I. filter automatically corrects tonal imbalances
  • NEW: Mid/Side, streamlined interface, instrument profiles

Features

Always a step ahead:

sonible smart:filter technology – Groundbreaking A.I. technology for transparent mixes

smart:EQ 2 analyzes your audio material and generates a custom filter curve to create a natural sounding tonal balance. Add clarity to your mixes, more punch to single tracks or carve out the harsh parts of your vocal recordings – in seconds and with unprecedented precision.

The self-learning smart:engine generates a detailed filter curve tailored to the specific audio material. The intuitive control interface allows to easily adjust thus created smart:filter to your needs. Your track blends seamlessly into your mix or cuts like a hot knife through butter.

NEW: Pro interface update & M/S processing

Refine your audio production workflow with the updated super-intuitive interface design of smart:EQ 2. Reach your mixing goals in less time without sacrificing sound quality. Additional M/S processing options allow you to fully control the sonic space of your tracks. Last but not least, the musical and natural sounding filters of smart:EQ 2 turn it into your new go-to EQ.

smart:EQ 2 now includes the long-awaited pre, post and pre/post analyzer. And that’s just scratching the surface of the updated feature set. For more flexibility, we added a tilt filter and the very handy M/S panning and Side balance function.

Custom profiles – Create, save, share

smart:EQ 2 includes new profiles for content-aware audio processing. Choose the profile for the sound source you are working with. The smart:filter will adapt to the characteristics of the signal. Edit, create, save and share your own custom-made profiles. Build your personal library and transfer profiles to your friends and partners. smart:EQ 2 becomes a tool tailored to your personal mixing style.

The human voice poses some of the greatest challenges in recording and mixing. Movie dialogues, interviews and vocals rarely come in pristine audio quality. With the new profiles optimized for the human voice, the smart:filter knows exactly how to tonally optimize any vocal content. This way profiles considerably speed up vocal editing tasks in film or TV post-production.

System Requirements

MAC:

  • OS X 10.7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – AU, VST2 (Universal Binary), AAX
  • iLok License Manager

PC:

  • Windows 7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – VST2 (32/64 bit), VST3, AAX
  • iLok License Manager

Important Note: In order to activate your product, you must have the soft iLok License Manager installed on your computer. You DO NOT need an iLok account or a physical iLok USB Dongle.


5. TDR Nova GE

by Tokyo Dawn Labs

TDR Nova GE

NOVA GE is a parallel dynamic equalizer. Appearing in the familiar layout of a parametric equalizer, the plugin also includes flexible dynamics processing options allowing the coverage of an impressively wide range of applications. Be it a master lacking density, the drum bus asking for more crispiness, or a sibilance problem in your perfect take: NOVA has an elegant musical answer.

NOVA GE includes a total of six dynamic EQ bands, each with independent dynamics processing ranging from downward compression over upward compression, upward expansion, up to downward expansion (incl. gating). Flanked by powerful highpass and lowpass filters, the processor covers a wide range of tasks:

Use-cases:

  • Parametric equalization
  • Dynamic equalization
  • Frequency selective compression/expansion
  • Multiband compression/expansion
  • Wideband compression/expansion

In addition, an advanced “Smart Operation” panel offers a unique way of automating and orchestrating the plugin for spectral matching, resonance removal and much more.

A user-friendly WYSIWYG drag and drop display paired with a classic “knob” interface gives quick and smooth access to the various parameters driving NOVA’s powerful signal processing. Elaborate equal loudness functions help finding the optimal setting without getting distracted by loudness differences.

NOVA GE also features all helpers and workflow enhancements you’ve come to expect in a TDR plugin: A preset manager, undo/redo, A/B, detailed documentation, copy & paste, and much more.

System Requirements

Windows

  • Win XP SP2 or above
  • VST 32-bit / 64-bit
  • AAX 64-bit

Mac

  • Mac OS X 10.6.8 or above
  • VST, AU, AAX 32-bit / 64-bit

6. PSP NobleQ

by PSP Audioware

PSP NobleQ

PSP NobleQ combines the features of passive program equalizers with a wide range of frequency settings and extended functionality. To make this plug-in a versatile tool we added several modern features such as an adjustable high pass filter, and the ability to switch high peak and shelf filters to Boost or Attenuation operation.

The PSP NobleQ stands out for its warm sound, its boost and attenuation low-shelf filters and its combined peak and shelf high frequency processing. The warm and musical sound in PSP NobleQ is made possible thanks to its finest processing utilizing FAT double sampling for a natural analog-like response. We also added an output valve-like rounding algorithm with adjustable processing depth.

The low shelf filter actually combines two shelving sections: the first one allows you to boost low frequencies while the other one attenuates them but is tuned slightly higher. Together they help to get a rich bottom end without low-midrange muddiness.

The high frequency range consist of two filters – a peaking filter with adjustable band width (usually set to Boost) and a shelf filter (usually set to Attenuate). Both filters interact in such a way that the more attenuation to high frequency is applied the more selective peaking filter becomes while keeping its center frequency similarly boosted.

Note: Read How to activate your PSP Audioware plugins

System Requirements:

PC:

VST:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • VST 2.4 compatible application

RTAS:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)

AAX:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • Pro Tools 10 or Pro Tools 11 (or later)

Mac OS X:

Audio Unit:

  • Mac OSX 10.5 or later
  • 32 or 64-bit host application capable of running AudioUnit plug-ins with Cocoa view

VST:

  • Mac OSX 10.5 or later
  • 32 or 64-bit VST 2.4 compatible host application

RTAS:

  • Mac OSX 10.4 or later
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)

AAX:

  • Mac OSX 10.8 or later
  • Pro Tools 11 or later

7. TDR VOS SlickEQ GE

by Tokyo Dawn Labs

TDR VOS SlickEQ GE

TDR VOS SlickEQ – Gentleman’s Edition takes SlickEQ‘s concept to new heights and adds an exotic “Tilt”-filter flanked by flexible low-pass and high-pass filters. Five distinct EQ models provide a rich set of predefined EQ curves and behaviours for the three main semi-parametric filter bands.

SlickEQ GE offers a switchable EQ non-linearity and seven different output stages. These options offer subtle and interesting textures, from the typical “mojo” often associated with high-quality analogue audio gear, up to more obvious saturation.

An elaborate auto gain option automatically compensates for changes of perceived loudness during EQ (within reasonable limits) and a gain-trim feature helps controlling peak overloads with ease. The 64bit multi-rate processing scheme (a.k.a. “internal re-sampling”) practically eliminates typical problems of digital EQ implementations such as frequency-warping, quantization distortion and aliasing.

Besides the primary controls, the plug-in comes with an array of additional helpers: Advanced preset management, a frequency magnitude plot, undo/redo, quick A/B comparison, copy & paste, an online help, editable labels, mouse-wheel support and much more. Finally, SlickEQ GE allows to exclusively process the stereo sum or stereo difference without external sum/difference encoding (see “M/S” microphony).

Features

  • 64bit “delta” multi-rate structure
  • Three semi-parametric filter bands, each with two shape options
  • Five distinct EQ models: American, British, German, Soviet and Japanese
  • Low-band offers an optional phase-lag able to delay low frequencies relative to higher frequencies
  • High pass filter with optional “Bump” mode
  • Low pass filter with two different slopes (6dB/Oct and 12dB/Oct)
  • Parametric Tilt filter with optional “V” mode.
  • Seven output stages: Linear, Silky, Mellow, Deep, Excited, Toasted and Funky
  • Smart EQ actions: Match Pink, Match reference, De-resonate and Auto HP/LP.
  • Highly effective loudness compensated auto gain control
  • Frequency magnitude response display including a real-time analyzer
  • Stereo, mono, left, right and sum/difference (mid/side) processing options

New in Version 1.3.1

  • Added VST3 support.
  • Added UI scales: 100%, 125% and 150%.
  • Added “Live” quality mode offering zero-latency operation.
  • Fixed DC appearing in “funky” saturation mode.
  • Added “Dual Mono*” mode (stereo operation with randomized tolerances).
  • Added new saturation mode “Seven”.
  • Added Smart Operation Panel.

SlickEQ is a collaborative project by Variety of Sound (Herbert Goldberg) and Tokyo Dawn Labs (Vladislav Goncharov and Fabien Schivre).

System Requirements

Windows

  • Win XP SP2 or above
  • VST (32-bit / 64-bit)
  • AAX (64-bit only)

Mac

  • Mac OS X 10.7 or above
  • VST, AU, AAX (64-bit only)

Important note: the Mac version of this software is 64-bit only and will not function on 32-bit systems.


8. Blue Cat’s MB-7 Mixer V3

by Blue Cat Audio

Blue Cat's MB-7 Mixer V3

Blue Cat’s MB-7 Mixer is a unique plug-in that splits the signal into several frequency bands and lets you mix and process them as if they were separate tracks.

Each band proposes controls that can be found on a mixing console, and more: bypass, mute or solo each band separately to isolate frequencies you want to work on, adjust the gain, the “stereoness” and the position in the stereo field. When manipulating the stereo image, a master mono switch also lets you check mono compatibility.

The plug-in can also operate as a multiband VST Host: you can process each band independently with your favorite VST plug-ins! Up to four plug-ins can be loaded on each band, pre or post fader. Latency compensation, presets management, undo/redo integration, and individual plug-in bypass are included for optimal operation.

The plug-in also proposes unique linking and grouping options thanks to our multi-instances technology. You can link bands together within a single instance or between several instances of the plug-in on different tracks. This lets a simple fader control as many bands on as many tracks as you want. This is particularly useful when adjusting the placement or the balance of several competing tracks.

And as usual with Blue Cat Audio, the plug-in provides comprehensive visual feedback to let you know what’s exactly going on: for each channel, monitor the spectrum, the in/out levels and the frequency response.

Thanks to its advanced MIDI and automation input capabilities, when combined with our other plug-ins, Blue Cat’s MB-7 Mixer is capable of advanced side-chaining features that really unveils its potential. 

Typical applications: Multiband levels correction, multiband VST hosting, spectral enhancement, multiband stereo widening, multiband stereo placement, frequency isolation, EQ, spectrum inspection, mastering, spectrum-based side chain effects, apply audio effects to a selected frequency range, VST plug-in bridge.

Features

  • Multiband mixing console: adjust the levels, panning and “stereoness” of each band separately.
  • Multiband VST, VST3 and Audio Unit Host: insert third party VST, VST3 and AU plug-ins and process each band independently.
  • 30 built-in effects for multiband processing: EQ, filters, pitch & frequency shifter, delays, reverb, modulation effects, compressor, gate, bit crusher, wave shaper and more.
  • External side chain support for sub-plug-ins on each band.
  • Parameters Mapping: map sub-plug-ins parameters to automate them or use a control surface.
  • Flexible Audio routing: connect sub-plug-ins i/o to any audio channel for multi-mono effects or creative side chain.
  • Pre and post-fader VST/VST3/AU plug-in inserts, with full latency compensation.
  • Up to 7 bands, with crossover filters from 12 to 192 dB/Oct for optimal separation.
  • Multiple instances linking: group bands within a single instance or between multiple instances of the plug-in. Modify the spectrum on multiple tracks with a single slider.
  • Bypass, mute, solo on every band.
  • Mono switch on master for mono compatibility check.
  • Dual Mode: independent left and right or mid and side channels control.
  • Complete visual feedback with real-time response curves, spectrogram, and levels display for each band.
  • Sidechaining made easy: a unique way to perform multi-band side chain compression, ducking, gating and much more.
  • No additional latency.

Blue Cat Audio Standards:

  • Available as: Mac-AAX, Mac-AU, Mac-VST, Mac-VST3, Win-AAX, Win-VST, Win-VST3, Win x64-AAX, Win x64-VST, Win x64-VST3.
  • Native DSP code for optimal performance.
  • Full MIDI control and automation support with silent, zipper-free parameters update, advanced response control and MIDI Learn.
  • No CPU load on idle: when the plug-in is fed with silence, the processing smoothly shuts down, to optimize the CPU usage of your Digital Audio Workstation.
  • Customizable user interface with transparency management and zoom.
  • Automation and MIDI output: record output parameters as automation curves or send MIDI CC messages to other plug-ins for powerful side chain effects.
  • Smooth Bypass: activate/deactivate the plug-in with absolutely no noise.
  • Undo/Redo.
  • Fully-featured integrated presets manager.
  • Copy/paste the state of the plug-in between instances using the system clipboard.
  • Any sample rate supported.

System Requirements

Windows

  • An SSE2-enabled processor (Pentium 4 or newer).
  • Microsoft Windows Vista, Windows 7, 8 or 10.
  • Any VST / AAX compatible host software (32 or 64 bit).

Mac OS X

  • An Intel processor.
  • Mac OS 10.7 or newer.
  • Any VST / Audio Unit (32/64-bit) / AAX compatible application.

9. PSP E27

by PSP Audioware

PSP E27

PSP E27 is a multistage equalizer plug-in (VST3, VST, AAX and RTAS for Windows; AudioUnit, VST3, VST, AAX and RTAS for Mac OSX) modeled after the analog equalizer E27 produced by Avedis Audio Electronics. E27 offers three-band equalization with nine selectable frequencies in a standard 500x package. This equalizer offers +/-16dB of boost/cut at musically selected frequency ranges, and offers gentle saturation. Low and high filters can work in bell or shelf mode with a single click. E27 is suitable for both mixing and mastering. PSP E27 offers additional preamp stage for global level control. This EQ plug-in catches nonlinear behavior of analog devices.

PSP E27 SE  (included in the bundle) is a simplified version of PSP E27, our multistage equalizer plug-in modeled after the analog E27 produced by Avedis Audio Electronics. The PSP E27se is based on the same great audio engine, but it has a redesigned, simpler GUI making quick adjustments a snap. The PSP E27se is equipped with one E27 and one PA11 module. It’s perfect for both mono tracks and stereo stereo in which you don’t need seperate settings for the Left and Right channels.

PSP is the sole developer and manufacturer of the PSP E27. Functionality and sound of the PSP e27 have been approved by Avedis Audio Electronics. PSP is responsible for all customer support.

System Requirements:

PC:

VST3:

  • Windows x32 or x64 (7, 8 or 10)
  • VST3 compatible application

VST:

  • Windows x32 or x64 (XP Service Pack 2, Vista, 7, 8 or 10)
  • VST 2.4 compatible application

RTAS:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)

AAX

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7 or 8 or 10)
  • Pro Tools 10 or Pro Tools 11 or Pro Tools 12 (or later)

Mac OS X:

Audio Unit:

  • Mac OSX 10.6 – 10.11 or later
  • 32 or 64-bit host application capable of running AudioUnit plug-ins with Cocoa view

VST:

  • Mac OSX 10.6 – 10.11 or later
  • 32 or 64-bit VST 2.4 compatible host application

VST3:

  • Mac OSX 10.6 – 10.11 or later
  • 32 or 64-bit VST 2.4 compatible host application

RTAS:

  • Mac OSX 10.6 – 10.11 or later
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)

AAX:

  • Mac OSX 10.8 – 10.11 or later
  • Pro Tools 11,12 or later

10. Black Q

by Tone Empire

Black Q

The philosophy behind Smooth Tube EQ

At Tone – Empire we are obsessed with “Sound”

We recently brought a vintage unit to life by building the hardware version over 6 months, changing tubes, transformers and signal paths.

In this quest, we built a ”Golden Unit” with “Super Powers”.

We had the idea then to model this circuit with 2 paths involving sowter and lundahl transformers and some choices of vintage valves.

The result was simply “Stunning” 

Then combining this with a versatile EQ Design, we developed a monster Tube EQ in the DSP world, a kind of hybrid with a sound going from “Clean and Silky” to full-on “Crunchy” sounding saturations.

TYPE A gives you a great “FULL” sound including a “Big” Low end and TYPE B gives you a crunchier mid/high enhanced sound.

These choices make it possible to use this eq on a variety of sound materials from Drums to vocals, Piano, string instruments, Bass, Synths and as a mastering unit itself.

The next part was to make this plugin as processor efficient as possible so it could be used as a tracking plugin with very low latency and also allow one to run multiple instances of it effortlessly.

I think we have accomplished both things.

We are now very keen to see our customers reactions to Black Q!

System Requirements

Plugin Formats:

  • Mac OSX – VST/AU/AAX (with wrapper) (64 bit only)
  • Windows – VST/ AAX (with wrapper) (64 bit only)

Mac:

  • OSX 10.13 or later (Not yet compatible with 10.15 Catalina)
  • Intel i3
  • 2 GB RAM / 300 MB HD
  • Screen resolution: 1024×768
  • VST2, AU, or AAX (with wrapper) 64-bit host

Windows:

  • Windows 7 or later
  • AMD Ryzen or equivalent
  • 2 GB RAM / 300 MB HD
  • Screen resolution: 1024×768
  • VST2, AU, or AAX (with wrapper) 64-bit host

11. Equalize

by Acon Digital

Equalize

The new Equalize 2 — now with Tilt and Bandpass Filters

Acon Digital Equalize is a parametric equalizer plug-in that combines unique features with excellent workflow and an intuitive user interface. Unlike other equalizers, you can freely adjust not only center frequency, gain and bandwidths, but also the filter slope for each band. The filter slope can be set anywhere from 3 dB to ultra-sharp 120 dB per octave. Needless to say, you can operate Equalize as a zero latency plug-in when using the minimum phase mode or choose to preserve the phase relationships in the linear phase mode. Equalize goes one step further, though, and introduces the unique mixed phase mode that allows you to set the latency freely in the range 5 to 120 milliseconds while preserving the phase relationships as far as possible. That gives a unique control over potential pre-ringing artifacts which is a common problem with linear phase filtering. Latency values below 20 milliseconds ensure that any pre-ringing is masked by the temporal masking of the human hearing while preserving the time-alignment across the audible frequency range.

Great care has been taken to provide a user interface that is straightforward to use. Band parameters can be adjusted using handles directly in the graphical representation of the frequency response, including bandwidths and filter slopes. A flexible real-time analyzer lets you monitor every aspect of the processing. You can easily switch between full, mid, side, left or right channel processing for each band and Equalize automatically routes the audio signal internally to ensure the best results and lowest possible latency.

Highlights

  • Eight different band filter types — low cut, low shelf, peak, tilt, bandpass, notch, high shelf and high cut
  • Up to twelve independent bands
  • Freely adjustable gain, frequency, bandwidth, resonance and filter slope
  • Three different phase modes, including the novel mixed phase mode with adjustable latency
  • Choose channel mode for each band independently (mid, side, left, right or full processing)

Acon Digital Equalize 2 is available for both Windows (PC) and OS X (Macintosh). Both 32 and 64 bit versions are available, and the plug-in formats VST, VST3, AAX and Audio Units (OS X only) are supported. The upgrade to version 2 is free for all Equalize customers and the license key is valid in version 2.

The new version of Equalize includes two new filter types – tilt and bandpass. It now offers a total of eight different filter types. Just like the previously available filters, both the tilt and bandpass filters offer the unique continuously adjustable filter slopes in the range 3 to 120 dB per octave.

The frequency range of the equalizer curve can now be altered conveniently by dragging the edges of the frequency axis or moved by clicking and dragging the center. This makes it possible to zoom in on specific frequency ranges for more precise control. A new preferences page offer user settings such as analyzer resolution and user interface language. Another new feature is the optional piano keyboard display above the frequency axis. Band frequencies can easily be set to match a tone’s frequency by clicking the key on the piano keyboard.

New Features at a Glance

  • Two new filter types — tilt and bandpass filters
  • Adjustable frequency range in the equalizer curve editor
  • Optional piano keyboard display
  • EUCON and full Pro Tools HW controller support
  • New preferences page with spectrum analyzer, tooltip, language and piano roll settings
  • Spectrum analyzer with adjustable frequency tilt

Features

Platforms and Plug-in Formats

  • Available as VST, VST3 or AAX plug-ins on PC (Windows)
  • Available as VST, VST3, AAX or AU plug-ins on Apple Macintosh (OS X)
  • Native 32 bit or 64 bit versions of all plug-ins are available
  • Supports sampling rates up to 96 kHz
  • Supports multi-channel formats such as 5.1 and 7.1 surround

Acon Digital Equalize

  • Up to twelve equalizer bands
  • Eight different band filter types (low cut, low shelf, peak, tilt, bandpass, notch, high shelf and high cut)
  • Band frequency, gain, bandwidth, resonance and filter slope is freely adjustable for each band
  • Three different filter modes, minimum phase, linear phase or the novel mixed phase
  • Adjustable latency and pre-ringing time in mixed phase mode
  • Zero latency in minimum phase mode
  • Channel mode (mid, side, left, right or full processing) can be set independently for each band
  • Multiple selection of bands
  • Resizable graphical user interface
  • Solo and bypass modes
  • Optional automatic make-up gain
  • Optional gain to bandwidth linking
  • Two spectrum analyzers that can analyze the input or output signal from the mid, side, left or right channel
  • Graphical visualization of the equalizer frequency response
  • Preset manager and a large number of factory presets
  • Save, load and categorize user presets

System Requirements

PC Version (Windows)

  • A Pentium IV or higher
  • Minimum 256 MB RAM (1 GB recommended)
  • Windows 10, 8 or 7
  • A host application that is compatible with VST, VST3 or AAX (Pro Tools 10.3.5 or higher)

Macintosh Version (OS X)

  • 64 bit Intel CPU
  • OS X 10.7 or later
  • A host application that is compatible with AU, VST, VST3 or AAX (Pro Tools 10.3.5 or higher)

12. TDR SlickEQ M

by Tokyo Dawn Labs

TDR SlickEQ M

TDR SlickEQ M (Mastering Edition) extends SlickEQ’s proven concept into a fully-fledged stereophonic equalizer. Specifically developed for the audio mastering engineer, no compromises have been made to deliver exceptional musical flexibility and audio fidelity.

Behind an intuitive user interface hides as a staggering array of possibilities: A set of musical high-pass and low-pass filters including a low frequency “monoization” section offer detailed control over the signal bandwidth. Six powerful parametric filter bands give precise access overtone, timbre and the stereo image, and a sophisticated meta-filter offers direct and intuitive access to the brightness, hardness or equal loudness curve of an audio signal.

All filters except HP and LP operate in a parallel EQ configuration. The EQ bands, in particular, include an elaborate nonlinearity inspired by the musically beneficial side effects found in inductor filter technology. An effective auto gain mechanism automatically compensates for changes of perceived loudness while operating the EQ and last but not least, semi-intelligent signal analysis options allow matching the input signal’s spectrum against a pink noise reference or automatically setting the HP and LP filters according to the signal’s audible bandwidth.

As with SlickEQ Standard and SlickEQ – Gentleman’s Edition, a multi-rate processing scheme (a.k.a. “internal resampling”) combined with elaborate signal processing techniques ensure the highest signal integrity is maintained throughout the processing.

Features

  • Intuitive user interface with a focus on musical flexibility
  • State of the art audio processing algorithms in a parallel EQ structure
  • Six full parametric EQ bands offer spectral control over stereo width and balance
  • Advanced filter nonlinearities inspired by inductor EQ technology
  • Powerful HP and LP filters. Each with four distinctly musical slopes
  • Dedicated Low-frequency mono filter
  • A Meta Filter with direct control over brightness, hardness or equal loudness contours
  • Smart actions allow matching the input against pink-noise distribution or custom references, and more
  • Highly effective loudness compensated auto gain control
  • Expandable EQ display including a realtime spectrum analyzer
  • Comprehensive documentation, a toolbar with undo/redo, A/B, advanced preset management and much more

System Requirements

Windows

  • Win XP SP2 or above
  • VST (32-bit / 64-bit)
  • AAX (64-bit only)

Mac

  • Mac OS X 10.7 or above
  • VST, AU, AAX (64-bit only)

Important note: the Mac version of this software is 64-bit only and will not function on 32-bit systems.


13. McQ

by PSP Audioware

McQ

PSP McQ captures the sonic character and functionality of various classic console equalizers such as the versatile MCI console EQs. However, while PSP McQ was inspired by these analog classics, we added several modern features such as adjustable high pass and low pass filters, steepness (resonance) control for the shelving filters, optional bell filters for the low and high bands, and three nominal Q values for the midrange filters. We packed the PSP McQ full of musical features, such as gain following Q factors for the midrange bell type filters. By this, we mean that the Q factor of these filters gradually increases along with increases in boost or attenuation. The PSP McQ is especially suited for deep track tweaking in order to get a desired sound for a track, or to get great track separation in the mix.

PSP McQ also includes our unique second generation SAT(uration) option in the output section. This both protects against digital clipping in software or hardware following the plug-in, and adds a smooth, overdriven sound to hard-driven signals. The SATuration algorithm is located after output level control in PSP McQ’s internal chain and its ceiling reference level is setup a fraction of dB below 0dBFS.

What do the Press Say?

“Yes, there are a lot of EQ plug ins out there. But PSP EQs have good sound at a very affordable price. Add to it the fact that the limited frequency selection some titles narrow ‘the world of endless twidlling’, forcing you to pick a frequency and move on! – just like many of our analog consoles. (…) I wholeheartedly suggest readers try the free demo available from the PSP website.” (Garrett Haines, TapeOp)

“Most DAWs already come with one or more equaliser plug-ins, but PSP equalisers do manage to capture that elusive warm and cuddly analogue vibe, and that’s what you’re paying for here.” (Paul White, Sound on Sound)

System Requirements:

PC:

VST:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • VST 2.4 compatible application

RTAS:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)

AAX:

  • Windows x32 or x64 (XP Service Pack 2, Vista or 7)
  • Pro Tools 10 or Pro Tools 11 (or later)

Mac OS X:

Audio Unit:

  • Mac OSX 10.5 or later
  • 32 or 64-bit host application capable of running AudioUnit plug-ins with Cocoa view

VST:

  • Mac OSX 10.5 or later
  • 32 or 64-bit VST 2.4 compatible host application

RTAS:

  • Mac OSX 10.5 or later
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)

AAX:

  • Mac OSX 10.8 or later
  • Pro Tools 11 or later

14. AE600 Active EQ Native

by McDSP

AE600 Active EQ Native

The AE600 is the next generation of active equalization. New and unique EQ modes, independent control of fixed and active EQ bands, and an ultra low latency algorithm make the AE600 the perfect solution for any audio production.

Every fixed and active band in the AE600 has its own gain, frequency, Q, and mode controls. EQ mode options include parametric, proportional Q parametric, 5x Q parametric, Baxandall shelving EQ, vintage styled EQ, X-style shelving EQ, Baxandall shelving EQ plus filtering, and high and low pass filtering. All bands are completely overlapping and can use the input signal or selected side chain inputs to trigger the active EQ response. The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot.

The AE600’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE600 (and AE400) active equalizers by McDSP.

Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE600.

Features

  • Six fully overlapping fixed and active EQ bands
  • Independent control over all fixed and active EQ parameters per band
  • Selectable EQ mode per fixed and active bands
  • Unique active EQ ratio response control
  • Side chain support
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

System Requirements:

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


15. EVE-AT Bundle

by Kuassa

EVE-AT Bundle

The EVE-AT bundle is a compadre of equalizers modelled after the classic Neve* 1081 and 1084. Add oomph, remove muddiness, give vocals a husky treatment, increase presence, remove rumble, and add character to any tracks, or a mix just before final mastering.

The Kuassa EVE-AT1 / EVE-AT4 consists of two individual EQs inspired by the design of the legendary Neve* 1081 and 1084 that are known for their clear, smooth, and very musical characteristics. We are thrilled by the sound and present these EQs as a modern tribute to one of the most influential audio tools ever created.

EVE-AT1 is a 4-band parametric equalizer with an additional high-pass and low-pass filter. Inspired by the EQ section of a renowned British Classic –the Neve* 1081 –this equalizer delivers a clear, smooth, and musical sound to shape your tracks. The EVE-AT1 posseses an additional parametric band with expanded Q bandwidth selection in the low-mid and high-mid frequency ranges as compared to the EVE-AT4. In addition, the AT1 implements a different high-pass and low-pass filter, giving the AT1 a slightly more conventional frequency response in these areas. These characteristics mean the EVE-AT1 is suitable for a broad range of musical applications, offering flexibility, versatility and all-round utility.

EVE-AT4 is a 3-band equalizer with an additional high-pass and low-pass filter. Designed as a tribute to the EQ section of the Neve* 1084, which was created as the successor to the legendary Neve* 1073. Although the EVE-AT4 possesses fewer bands, a smaller frequency selection palette, and less Q bandwidth selection options as compared to the EVE-AT1, its strength lies in its unique filter implementation, producing an idiosyncratic frequency response not present on the EVE-AT1. The result is a particular tonal character; the sound and tonal shape of its original incarnation is a hallmark of many classic recordings from the 70s.

Both the AT1 and AT4 were designed with simplicity and clarity in mind, allowing for straightforward usage and immediate productivity. Although they share certain tonal characteristics, the EVE-AT1 and EVE-AT4 reveal their differences in the details. The EVE-AT4 is the stronger ‘character’ equalizer, while the EVE-AT1 is suitable as a ‘go-to’ equalizer for a wide range of instruments and musical applications.

Features

  • Approximately +/-18dB (Narrow Q), and +/-12 dB (Broad Q)
  • Selectable broad/narrow Q bandwidth
  • Selectable shelf/peak filter mode
  • HP & LP, -18 dB/octave
  • A/B compare button, A/B copy button
  • Output trim, Phase Reverse Button

System Requirements

  • Windows XP, Vista, 7, or Later (32/64-bit)
  • Mac OS 10.5 or later (32/64-bit)
  • VST, VST3, Audio Units or AAX compatible Host Software

Please note that this product is a plugin, a VST/VST3/AU/AAX compatible host/sequencer is needed to run this software


16. Voxengo GlissEQ

by Voxengo

Voxengo GlissEQ

GlissEQ is a parametric equalizer plug-in for professional music production applications.  The most interesting and unique feature of GlissEQ is the dynamic behavior of its filters.

To understand dynamic filtering, let’s begin by re-stating something probably obvious about a normal equalizer: you always get what you set.  In other words, when you specify a 6 dB boost at 100 Hz you get exactly 6 dB of boost at 100 Hz.

But GlissEQ is different.  When you specify a 6 dB boost at 100 Hz, you don’t necessarily get a 6 dB increase in gain.  Instead, the filter’s effective gain is adjusted dynamically according to the program material.  That is what we mean by dynamic filtering and it is the key to GlissEQ.

You should notice these immediate benefits: boosting highs with GlissEQ tends to avoid the fatiguing effect of overload.  And boosting lows avoids making things sound mushy.  Instead, you get a pleasant emphasis of transients, bringing life and dimension to your tracks.  In short, the “dynamic behavior” of GlissEQ’s filters gives you a helping-hand during mixing and mastering.

In addition to dynamic filtering, GlissEQ also features a real-time spectrum analyzer.  The spectrum of a track can be exported to any other instance of GlissEQ thus making real-time inter-track spectrum comparisons possible.  This helps you free frequency ranges on one track to allow an instrument on another track occupying same frequencies to breathe.

Applications

  • Track equalizer
  • Mastering equalizer
  • Stereo, mid-side, 5.1 equalizer
  • Dynamic equalizer
  • Multiple cross-track spectrum analyzer
  • Clean-sounding equalizer
  • Smooth harmonic enhancer

Features

  • Filters with dynamic behavior
  • Up to 32 parametric filter bands
  • Narrow-band sweeping
  • User interface window resizing
  • Channel grouping
  • 64-bit floating point processing
  • A/B comparisons
  • Zero processing latency
  • Real-time spectrum analysis
  • 16 filter types
  • EQ area highlight
  • Stereo and multi-channel processing
  • Mid/side processing
  • Preset manager
  • Contextual hint messages
  • Real-time spectrum import/export
  • Harmonically-enhanced filter type
  • Static spectrums display
  • Internal channel routing
  • Up to 8x oversampling
  • Undo/redo history
  • All sample rates support

System Requirements

This plug-in is compatible with Windows (32- and 64-bit Windows XP, Vista, 7 and later versions) and Mac OS X (10.5 and later versions, 32- and 64-bit, Intel processor-based) computers (2 GHz dual-core or faster processor with at least 1 GB of system RAM required).  A separate binary distribution file is available for each target computer platform for each audio plug-in specification.

Compatibility

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.

RTAS compatibility is available by using the FXpansion VST-RTAS adapter.


17. EVE MP5 50’s Equalizer

by Kuassa

EVE MP5 50's Equalizer

EVE-MP5 Supports various audio plugins: VST, VST3, Audio Units, AAX, which are compatible with all kind of Digital Audio Workstation softwares such as Logic Pro, Ableton Live, Reaper, Nuendo, Cubase, Cakewalk, FL Studio, Propellerhead Reason, Avid Pro Tools, and many more.

Introducing the newest addition to the Extensive Vintage Equalizer family from Kuassa: EVE-MP5.

Kuassa EVE-MP5 is a reproduction of two of the most sought-after classic hardware equalizers, the Pultec* MEQ-5 Midrange Equalizer and the EQP-1A Program Equalizer. We drew inspiration from them and combined both EQs into a compact, single plug-in with a color coded, straightforward interface intended for fast workflows and maximum usability.

Known for their signature frequency curves, the EVE-MP5 will bring massive lows, smooth mids and shiny highs to any tracks you put them into. Utilize the famous low-end trick of boosting and attenuating the low frequencies simultaneously for a rock solid bottom-end. The MP5 is also loaded with a power amp saturation unit in the signal path. Turn it on for a hotter signal and dial the input to give a mild edge to your tracks, or push more for an overdriven sound. The “Auto” switch in the input section is useful for maintaining constant gain levels while cranking the saturation via the input knob.

Features

  • Combination of the two Pultec* EQs into a single, compact plug-in.
  • Color coded knobs and straightforward interface for fast workflows
  • Unique Saturation unit on the input path with automatic level compensation
  • Simultaneously boost and attenuate on the same low frequency
  • Distinct Pultec* natural filter curve
  • Dial up large amount of boost or cut without sacrificing naturalness and musicality

System Requirements

  • Windows XP, Vista, 7, or Later (32/64-bit)
  • Mac OS 10.5 or later (32/64-bit)
  • VST, VST3, Audio Units or AAX compatible Host Software

Note: This product is a plugin – VST/VST3/AU/AAX compatible host/sequencer is needed to run this software


18. Slice EQ

by kiloHearts

Slice EQ

Cut, or enhance, frequencies with surgical precision using Slice EQ. And modulate your filters for some really cool effects. Slice EQ is an advanced parametric equalizer, with great modulation potential, especially when combined with Snap Heap. Slice EQ offers you everything you need to create mathematically perfect filter combinations to get your music exactly where you want it to go.

Perfect sound: Slice EQ won’t let anyone down soundwise. Using top of the line, digitally clean filters, it will give you a crisp result every time.

Workspace layout: With a recognizable workspace layout the Slice EQs user interface makes sure you will quickly find your way to all the features.

Really fast!: All Kilohearts plugins get the job done quickly. That way you can stack them high without worrying about performance issues.

Download & install: Once your purchase has gone through you will get an email with installation instructions. With our custom installer, it couldn’t be easier.

Size does matter: The Slice EQ workspace is freely resizable and you can set the UI scale to match your preference. This can be very handy at times.

Snapin compatible: Slice EQ works with our excellent Snapin hosts. Check out Snap Heap for instance.

System Requirements

These are the minimum recommended system requirements for running Carve EQ.

CPU:

  • 2 GHz or faster

Memory:

  • 1 GB or more

Operating System:

  • Windows (7 or newer) or Mac OS X (10.7 or newer)

Software:

  • A VST / Audio Unit / AAX compatible DAW

Supported formats:

  • AAX
  • AU
  • VST2
  • Snapin

19. Carve EQ

by kiloHearts

Carve EQ

Graphic equalizers have stayed the same for a long time, but Carve EQ takes the next big step in evolution.

Carve EQ is a 31-band graphic equalizer, that runs laps around the competition. Innovative new tools, and loads of EQ profiles from famous songs makes sure you’ll get your desired results in no time!

Carve EQ has a very advanced filtering system hidden under a small set of efficient and deceptively simple tools, to give you perfect control in any situation.

Perfect sound: Carve EQ won’t let anyone down soundwise. Using top of the line, digitally clean filters it will give you a crisp result every time.

Workspace layout: With a recognizeable workspace layout the Carve EQs user interface makes sure you will quickly find your way to all the features.

Really fast!: All Kilohearts plugins get the job done quickly. That way you can stack them high without worrying about performance issues.

Size does matter: The Carve EQ workspace is freely resizable and you can set the UI scale to match your preference.

Snapin compatible: Carve EQ works with our excellent Snapin hosts. Check out Snap Heap for instance.

Precision all the way: The point selection tool lets you control single bands perfectly with clearly labeled axes. You can also select multiple bands at once and make exact changes where you need them.

More of a feeling: Carve EQ excells at letting you smoothly work with sections of the spectrum through the awesome “Sculpt tool” that adds a peak that you can drag around and modify easily.

Compare your work: Using others sounds or songs as a reference has never been easier. Choose from the factory profiles or create your own from any WAV file. You can also use a sidechain channel as a reference.

Match EQ: Do you like that special Taylor Swift sound, or the whole Surrender album by The Chemical Brothers? Simply steal the mastering of any audio and let Carve EQ apply it to your song in seconds.

Tired ears? When EQing you can sometimes start having problems determining if your are actually making things better or worse. Use the A/B comparison tool to make your way forward.

EQ in stereo: Are you used to working in Left/Right, or Mid/Side? Either way Carve EQ present your work in a way that is intuitively understandable at a glance.

System Requirements

These are the minimum recommended system requirements for running Carve EQ.

CPU:

  • 2 GHz or faster

Memory:

  • 1 GB or more

Operating System:

  • Windows (7 or newer) or Mac OS X (10.7 or newer)

Software:

  • A VST / Audio Unit / AAX compatible DAW

Supported formats:

  • AAX
  • AU
  • VST2
  • Snapin

20. PSP preQursor2

by PSP Audioware

PSP preQursor2

PSP preQursor2 offers PSP’s uniquely designed filters with low resonance peaks for reduced ringing artefacts, great band separation, and narrow notching when attenuating. All four filters are bell-type filters when boosting, and have progressive Q factors. The PSP preQursor2 introduces PSP’s Advanced Analog Modelling of preamplifier and filters to accurately recreate an analog-like behavior. The analog modelling algorithm can be enabled and controlled per instance, or globally per group of instances. The latter allows for easy control of the amount of analog- like processing on either selected tracks or all tracks in the mix. All these characteristics result in a processor that not only sounds excellent on acoustic tracks, overall mixes, or any other application, but also allows you to virtually create the input console for all tracks in your mix with easy and convenient controls. In every usage case, PSP preQursor2 will maintain the natural feel and definition of the material.

System Requirements:

In order  to run a plug-in in 30 day demo mode  or activate the plug-in, you need an iLok user ID which you can create for free at https://www.ilok.com/, and you need to install the free iLok License Manager application. A hardware USB iLok dongle is NOT required, however it is optional.

PC:

VST:

  • Windows 7, 8 or 10
  • VST 2.4 compatible application
  • Up to date (at least version 3.1.3) iLok License Manager application installed

RTAS:

  • Windows 7, 8 or 10
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)
  • Up to date (at least version 3.1.3) iLok License Manager application installed

AAX:

  • Windows 7, 8 or 10
  • Pro Tools 10, 11, 12 (or later)
  • Up to date (at least version 3.1.3) iLok License Manager application installed 

Mac OS X:

Audio Unit:

  • Mac OSX 10.8 – 10.12 or later
  • 32 or 64-bit host application capable of running AudioUnit plug-ins with Cocoa view
  • Up to date (at least version 3.1.3) iLok License Manager application installed

VST:

  • Mac OSX 10.8 – 10.12 or later
  • 32 or 64-bit VST 2.4 compatible host application
  • Up to date (at least version 3.1.3) iLok License Manager application installed

RTAS:

  • Mac OSX 10.8 – 10.12 or later
  • ProTools LE 8.0.0 or ProTools TDM 8.0.0 (or later)
  • Up to date (at least version 3.1.3) iLok License Manager application installed

AAX:

  • Mac OSX 10.8 – 10.12 or later
  • Pro Tools 10,11,12 or later
  • Up to date (at least version 3.1.3) iLok License Manager application installed

21. MDynamicEq

by MeldaProduction

MDynamicEq

Equalizing is probably the most important task, so you should get the best tool out there! MDynamicEq, the little brother of MAutoDynamicEq, is an unbelievably transparent and musical sounding equalizer with a gorgeous interface stuffed with amazing features. It pushes the technology forward by introducing dynamic processing!

5 Bands with Gorgeous-Sounding Dynamic Filters

Our variable-slope filters just sound amazing. No more resonances, you can finally be really surgical. Dynamic filters can do common tasks such as de-essing, ducking, compression, expansion plus much more and the world of possibilities is far from being explored! Plus flexible high-pass and low-pass filtering for speeding up your mixing workflow.

Simple User Interface for Common Tasks

Tasks such as de-essing or bass drum enhancement are so common that we decided to make them available with the simplified 4 knob interface. Just plug it in, select what you want to do and enjoy the results.

Super-Modern Visualisation

MDynamicEq not only shows the results of your processing, it also features an integrated analyzer, sonogram, spectrum areas plus much more.

Side-Chain Wonders

Normal equalizers could hardly benefit from a side-chain, but MDynamicEq is dynamic. Attenuate the bass guitar when bass drum is played? No problem\! And that’s just the beginning.

Features

  • The most advanced user interface on the market – stylable, resizable, GPU accelerated
  • Unique visualisation engine with classic meters and time graphs
  • exceptionally versatile modulators
  • Adjustable oscillator shape technology
  • 4 multiparameters
  • M/S, single channel, up to 8 channels surround processing…
  • Smart randomisation
  • Automatic gain compensation (AGC)
  • Safety limiter
  • Adjustable up-sampling 1x-16x
  • MIDI controllers with MIDI learn
  • Very fast, optimised for SSE/SSE2/SSE3 processors
  • Global preset management and online preset exchange
  • Supports VST, VST3, AU and AAX interfaces on Windows & Mac, both 32-bit and 64-bit
  • No dongle nor internet access is required for activation
  • Free-for-life updates

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

22. RZ062 Equalizer

by Audified

RZ062 Equalizer

The exact models of Klangfilm RZ062a and RZ062b vintage EQ modules.

Both RZ062 plug-ins deliver pleasant vintage warmth and amazing presence to your vocals, instruments and entire mixes.

The Original

The RZ062 Equalizers were originally (in the 1960s) designed in Germany for installation in mixing consoles. They were supposed to permit arbitrary modification of frequency response in sound recording and reproduction in order to eliminate undesired studio acoustics, noise, or to produce certain acoustic impression or tonal colouring. Soon they accommodated in top European studios. Now, these 6lbs 300V powered units are extremely rare. Due to their inaccessibility and unmistakable sound, their price climbs over $12.000 per pair. But thanks to our precise circuit modeling technique, these jewels can return to your projects.

Common EQ vs RZ062

Nowadays producers tend to surf through various frequencies and spend hours on trying to find the sweet spot of their mix. But the vintage gear worked differently. The RZ062 EQ‘s controls adjust precisely selected fixed parameters. They are perfectly sonically balanced to give the immediate and no compromise results. In addition, the circuitry adds wonderful colour to the entire material.

RZ062a

The RZ062a and RZ062b modules differ in the function of the central knob. The a-module middle handle rotates the entire frequency curve by around the central point (650 Hz). When the bass frequencies are raised, the trebles are simultaneously lowered.

RZ062b

The b-module is even more complicated. Its presence knob lets you choose one of four frequencies (1.4, 2, 2.8 and 4 kHz) and adjust their gain at the same time. This parameter helps your sonic material to cut through very gently and sensitively.

The Model

To create these amazing plugins we had to emulate more than 200 circuit components. That includes 3 triodes, input and output transformers. It is not just any circuit but someone did a great job focusing on the details. Each part has its own thoughtful meaning. For RZ062 we used so called white box modeling. We described the whole circuit with complex math equations based on the circuit analysis. Eventually, the overall model was fine tuned by measurements and component-values fitting algorithm. to find as the closest model to the real device as possible.

In Use

“RZ062‘s place is everywhere where extra bass, treble or presence is needed while improving the overall colour, smoothness, and tightness of the sonic material. RZ062 is incredible on vocals, bass or acoustic instruments. 

But due to the advanced controls – the independent left/right channels tweaking or mid/side operation – the main point of the RZ062 EQs is the top quality mastering purpose.”

Features:

  • 2 EQ Plugins in a Bundle 
  • Precise Valve Circuit Models 
  • Left/Right and Mid/Side Controls and transformation
  • Calibration 
  • Input and Output Level Control 
  • Auto Output Parameter (Link) 
  • Smoothest EQ Sound Available

System Requirements

Mac OS X:

  • OS X 10.9 – Mac OS X 10.14

Plugin Formats for Mac:

  • AAX for Pro Tools (32/64-Bit) 
  • Audio Units – AU (32/64-Bit)
  • VST2 (32/64-Bit)
  • VST3 (32/64-Bit)

PC:

  • Windows 7 – Windows 10

Plugin Formats for PC:

  • AAX for Pro Tools (32/64-Bit) 
  • VST2 (32/64-Bit)
  • VST3 (32/64-Bit)

Please Note: U78 Saturator is iLok protected – the USB hardware key is not necessary. Only a FREE iLok Account/License Manager is required, which is available at iLok.com.


23. MAutoEqualizer

by MeldaProduction

MAutoEqualizer

MAutoEqualizer advanced mastering equalizer and analyzer plugin is a revolutionary (but not limited to) mastering plugin, that combines a powerful equalizer, state-of-the-art linear-phase equalizer and analyzer in a single window. Also, it is the first software featuring our MeldaProduction Filter Adaption (MFA) technology which can actually perform the equalization for you based on an analysis of your recording, another recording or any spectral content which you can literally ‘draw’ using our MeldaProduction Envelope System (MES).

Features

  • Parametric equalization provided by MAuto Equalizer can not be matched by simple FFT-based algorithms. MAuto Equalizer provides true Analogue sound and 2 top-class linear-phase algorithms.
  • Fully adjustable linear & minimum phase parametric equalizer. Unlike common spectral matching algorithms our automatic equalization configures all bands of the equalizer only. No black box, you see exactly what it is doing. It only does what you would do, but it does not suffer from lack of experience. ear fatigue or exhaustion.
  • Extremely versatile, useful for everything from mixing to mastering! You can make your recordings sound professional. You can ensure all of your recordings on your new album sound similar. You can let MAutoEqualizer fit a track into a mix using spectral separation feature. You can draw your desired frequency response. In any case MAutoEqualizer will find the best settings and configure the parametric equalizer bands for you. With a standard equalizer you are listening to the spectrum and amplifying or attenuating frequencies. This is very difficult even if you are a very experienced user with advanced listening skills. With MAutoEqualizer you no longer need to worry about your ears being objective.
  • State-of-the-art 10 band parametric equalizer and linear-phase equalizer combined with a powerful spectrum analyzer in a single window. Finally you can see input and output spectrum along with the equalizer shape and controls.
  • Automatic equalization – long-term analysis of average recording spectral properties provides information necessary to use MeldaProduction Filter Adaption (MFA) technology, which can configure bands to approximate the requested resulting spectrum for you.
  • Includes comparisons to most (not-only) modern styles – when you need to master your recording, you typically get some professional recording to compare it to. We have analyzed more than 80 well-known songs for you. So if you don’t know or do not want to bother searching for some particular tune, just select an analysis of a song and let your recording sound like it!
  • Averaging, smoothing and magnitude normalization are pretty outstanding features that all help optical recognition and accuracy of automatic equalization.
  • 3 equalization algorithms with (approximately) the same frequency response – true bidirectional filtering algorithm, FFT algorithm and standard minimum phase equalization. Bidirectional filtering provides maximal accuracy and minimal noise ratio. As a supplement MAutoEqualizer implements a standard equalization and FFT algorithm adopted in most cheap linear-phase equalizers.
  • Adjustable dry/wet mix – what is impossible for common equalizers due to phase alteration is not impossible for MAutoEqualizer! Using just one slider you can have complete control of the amount of performed equalization.
  • Q in range 0.05 to 10 with protection against pops and crackles.
  • Integrated powerful spectral analyzer and sonogram – despite the main judge should always be your ears, the plugin offers an outstanding spectral analyzer combined with a sonogram with truly unique features such as super-resolution (which provides higher resolution in bass frequencies) or deharmonization (for easier analysis of fundamental frequencies).
  • 7 filter types for each band. – peak, low-shelf, high-shelf, low-pass, high-pass, band-pass, notch.
  • Advanced editor and smooth visualization of resulting frequency response. All parameters are adjustable from the graph. No more searching in complicated band editors. Just click on a band and configure all of the parameters from filter type and gain to advanced features such as harmonics control. Everything with almost infinite precision if you need maximum control.
  • Enable, Q, and Actual source level indication inside the shape graph.
  • Integrated tube saturation gives the sound a great vintage analog feel.
  • Up to 8 channels surround processing – our plugins can handle not only mono and stereo signals, but also up to 8 channels of surround audio, making them ideal for audio production for movies, games etc.
  • Adjustable up-sampling 1x-4x to minimize aliasing and get an even clearer sound.
  • Extremely advanced and easy-to-use user interface – our products are always designed to enhance the workflow. You can easily change all values, fine-tune each control in multiple ways. Easy orientation in a standardized GUI, textual editing and smooth visualization with almost unlimited zooming are standard in all of our plugins. Moreover our plugins are the world first (and still the only ones), which support resizable and stylable GUI’s.
  • MIDI controllers with MIDI learn – you can map any parameter to any MIDI controller or MIDI keyboard and control it realtime or record and automate it.
  • Very fast, optimized for SSE and SSE2 processors.
  • Global preset management and online preset exchange – using a title button you can save your settings (which are shared on the computer) so you can easily access these in other songs. Moreover all plugins can automatically share your presets and download presets of other users from our servers (if this feature is enabled). We are building a community and you can be a part of it!
  • Fully Automatable.

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

24. DeFilter

by Acon Digital

DeFilter

DeFilter / Automatic Equalization Plug-In

DeFilter is an efficient tool to even out tonal imbalances in a mix or reduce resonant peaks or dips in the frequency spectrum. Even severe issues such as comb filter effects or standing waves from untreated rooms can be addressed. DeFilter can match recordings to target profiles such as music or speech, or alternatively extract the overall timbre from the source – the large strokes – while evening out narrow peaks and dips. The latter removes resonances and comb filter effects effectively while preserving the tonal character of the input signal. Recordings can also be equalized to match a reference recording.

Great care has been taken to provide a user interface that is straightforward to use. Frequency dependent correction levels can be defined using custom curves, so that DeFilter can focus on problematic frequency ranges while leaving other frequency regions untouched. Realtime spectrum analyzers for both the input and output signals visualize the effect on the frequency spectrum.

Use Cases

  • Fix issues in a mix prior to mastering
  • Reduce resonances caused by untreated room acoustics
  • Matched equalization (automatic equalization based on a reference signal)
  • Improve clarity and intelligibility of speech
  • Instant fix for nasty comb filter effects

Acon Digital DeFilter is available for both Windows (PC) and OS X (Macintosh). Both 32 and 64 bit versions are available, and the plug-in formats VST, AAX and Audio Units (OS X only) are supported.

Features

  • Automatically estimates correction filter that evens out the frequency spectrum
  • Removes resonances and comb filter effects
  • Predefined target profiles include music, speech and an automatic mode that extracts timbre from the input signal
  • Correction filters can be saved and used as a reference for matched equalization
  • Adjustable length of the correction filter from 1 to 20 milliseconds
  • Frequency spectrum representation of the of the following signals:
  • Correction filter
  • Input signal
  • Output signal
  • Frequency emphasis filter for the the level of correction

System Requirements

Platforms and Plugin Formats

  • Available as VST or AAX plug-in on PC (Windows)
  • Available as VST, AAX or AU plug-in on Apple Macintosh (OSX)
  • Native 32 bit and 64 bit versions are available
  • Supports sampling rates up to 96 kHz

PC Version (Windows)

  • A Pentium IV or higher
  • Minimum 256 MB RAM (1 GB recommended)
  • Windows 8, Windows 7, Windows Vista or Windows XP
  • A host application that is compatible with VST (32 bit or 64 bit) or AAX (Pro Tools 10.3.5 or higher)

Macintosh Version (OSX)

  • 64 bit Intel CPU
  • OSX 10.6 or later
  • A host application that is compatible with AU, VST or AAX (Pro Tools 10.3.5 or higher)

25. Oxford Dynamic EQ

by Sonnox

Have you tried to control boomy or harsh frequencies using a traditional static EQ but found you compromised the integrity of the original recording? Then found that writing automation lost you precious time and sounded unnatural? Perhaps you’ve heard that a multiband compressor is the answer but it left you scratching your head?

Then the Oxford Dynamic EQ is the tool you need, providing just the required amount of processing when you need it and takes little time to set up. 5 bands of the ultra-musical Type-3 EQ curve can be overlapped to bring unparalleled control and characteristic Sonnox transparency to your single sources, instrument groups and 2-bus alike.

The Dynamic EQ introduces unique features such as the option to engage the effect by onset (transient) detection – very useful when working with drums and percussion. Additionally, mid-side processing can be used to enhance a vocal without affecting side-channel balance or to open up a mix by focusing low end energy in the centre.

This highly-tweakable space-carving capabilities of the Dynamic EQ will be a welcome addition to your mixing arsenal.

Features

  • 5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type
  • All bands can overlap fluidly without the static phase distortion or low-frequency artefacts associated with multiband compressors
  • Each band can process and/or detect from mono, stereo, mid or side channels
  • Flexible per-band internal/external side chain controls
  • A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins
  • Flexible upwards/downwards compression and upwards/downwards expansion
  • Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing

System Requirements

Mac:

  • macOS 10.7 or later 
  • iLok USB device with latest drivers OR active internet connection required

Formats:

  • AAX Native for Pro Tools 10.3.8, 11.3.2, 12 – Approved Pro Tools CPU, OS and hardware configuration
  • Audio Units (AU) – Audio Units-compatible application required (Logic, Digital Performer etc)
  • VST2 / VST3 – VST2 or VST3 compatible application (Cubase, Nuendo, Sequoia etc)

Supported Hosts:

  • Pro Tools 10.3.8 – 12 (AAX Native)
  • Logic Pro X 10.2
  • Logic 8 & 9
  • Digital Performer
  • Nuendo
  • Cubase
  • Ableton
  • Studio 1

PC:

  • Windows 7 or later
  • iLok USB device with latest drivers OR active internet connection required

Formats:

  • AAX Native for Pro Tools 10.3.8, 11.3.2, 12 – Approved Pro Tools CPU, OS and hardware configuration
  • VST2 / VST3 – VST2 or VST3 compatible application (Cubase, Nuendo, Sequoia etc)

Supported Hosts:

  • Pro Tools 10.3.8 – 12 (AAX Native)
  • Nuendo
  • Cubase
  • Ableton
  • Samplitude
  • Sequoia
  • Pyramix
  • Studio 1

Please Note: This product now supports iLok Cloud Authorisation. An iLok USB Dongle OR an active internet connection is required in order to activate and use this product.​


26. The Hoser XT (inc Free copy of The Hoser)

by Boz Digital Labs

The Hoser XT (inc Free copy of The Hoser)

When you buy Hoser XT, you get its little brother, The Hoser, for free

The second in the series of David Bendeth signature plugins. Modeled off of a Ward-Beck Systems M462B hardware EQ unit, The Hoser makes a great channel channel EQ to give that cohesive feel to your mixes.

The Hoser takes advantage of some of the benefits of working in the digital domain, all while staying true to the analog sound. It is really the best of both worlds.

When you buy Hoser XT, you get its little brother, The Hoser, for free.

Analog Sound – CPU Friendly

When we built The Hoser, we had two objectives:

  • It must sound just like the hardware
  • You should be able to use this plugin on every track without worrying about your CPU overheating.

After much trial and error, we finally accomplished this. The plugin stays true to the analog sound, allowing you to add extreme amounts of gain without adding the harshness of digital EQ. It does all this while using small amounts of processing power, to preserve your CPU for other plugins. It’s really the best of both worlds.

3 Channel Modes

While we were using the hardware, we couldn’t help but wish that we could use it in a mid/side configuration. It was just begging for it. So what was stopping us from making the plugin work in mid/side mode? Nothing, that’s what.

You can also process your left and right channels separately, which is a great way to add some stereo width to a mono track, or match the tone of a stereo source.

The Hoser vs The Hoser XT

When you buy The Hoser XT, The Hoser also comes with your download, but what is the difference?

The Hoxer XT

  • Separate Mid/Side and stereo control, as well as standard stereo/mono mode
  • Comes with The Hoser

The Hoser

  • More compact design
  • stereo/mono mode only

System Requirements

Available Formats:

  • Windows (32/64): VST2, VST3, RTAS, AAX Native
  • Mac (32/64): AU, VST2, VST3, RTAS, AAX Native

27. Trident A-Range

by Softube

Trident A-Range

The Trident A-Range equalizer is a legendary piece of equipment. As only thirteen A-Range consoles were ever made, it remains a holy grail for sound engineers and producers around the world that hope to create works of art equal to those that were originally recorded on the A-Range – David Bowie’s Ziggy Stardust, Queen, Elton John, the list goes on…

It is sometimes said that one of the disadvantages of digital mixing and recording is that the happy accidents one could experience with analog gear just don’t happen in the DAW. People saying that clearly haven’t tried Softube’s Trident A-Range equalizer.

Because the Trident A-Range is not only a tremendously nice sounding and highly characteristic equalizer. Its four frequency bands also have a way of integrating in sometimes rather unpredictable ways. More often than not you will find that the equalizer ends up giving you something even better than you may have expected when you made a certain setting. In this sense, the Trident A-Range is more of a musical instrument than a strictly scientific tool. We think this is one of the major reasons it has been used on so many great classic rock albums and why it’s still one of the most coveted pieces of audio equipment around.

Only thirteen A-Range consoles were ever built, and the Softube plug-in version is a very exact model of channel 15 of the Trident A-Range at Sweet Silence Studio ‘B’ in Denmark. This is producer Flemming Rasmussen’s favorite channel for recording lead vocals. Flemming also used it for the solo and rhythm guitars on Metallica’s “Ride The Lightning” and “Master of Puppets”, as well as Ritchie Blackmore’s guitar on the Rainbow albums “Difficult to Cure” and “Bent out of Shape”.

The A-Range channel features four bands of equalization plus high and low pass filters. By driving the console hot, it is possible to get it to distort with a hairy and effective saturation that is just right in some situations, and just wrong in others! We added a separate Saturation control to let you choose easily. Turn it down for clean (and less CPU draw), and up for the sound of a Trident A-Range hard at work.

Only thirteen A-Range consoles were ever built, and the Softube plug-in version is a very exact model of channel 15 of the Trident A-Range at Sweet Silence Studio ‘B’ in Denmark. This is producer Flemming Rasmussen’s favorite channel for recording lead vocals. Flemming also used it for the solo and rhythm guitars on Metallica’s “Ride The Lightning” and “Master of Puppets”, as well as Ritchie Blackmore’s guitar on the Rainbow albums “Difficult to Cure” and “Bent out of Shape”.

The A-Range channel features four bands of equalization plus high and low pass filters. By driving the console hot, it is possible to get it to distort with a hairy and effective saturation that is just right in some situations, and just wrong in others! We added a separate Saturation control to let you choose easily. Turn it down for clean (and less CPU draw), and up for the sound of a Trident A-Range hard at work.

Features:

  • EQ with a will of its own
  • Created together with original designer Professor Malcolm Toft
  • Each and every component carefully modeled
  • Saturation control
  • Very CPU friendly

System Requirements:

Version 2.0 of the Softube plug-ins have the following minimum requirements:

All Native Versions:

  • Mac OS X 10.9 or newer
  • Windows 64-bit, versions 8 or 10
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer
  • Screen resolution larger than 1280×800
  • 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space)
  • Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application
  • Softube/Gobbler account
  • Gobbler application to manage license activation and plug-in downloads
  • Please make sure that you always use the latest iLok License Manager. It is not included in the Softube installer, but can be downloaded from www.ilok.com
  • Broadband internet access for downloading installer and register licenses​

Please Note: 

  • Windows XP and Vista are no longer officially supported
  • All Softube plug-ins support both 32- and 64-bit hosts, although a 64-bit OS is required. Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo

AAX DSP version

  • For AAX DSP you need to meet the requirements for the Native version. You also need to have an Avid HDX processing card
  • Different plug-ins will have a different load on your HDX card, please see the AAX DSP Supported Instances per DSP card for more information

28. Chandler Limited® Curve Bender Mastering EQ

by Softube

Chandler Limited® Curve Bender Mastering EQ

Sovereign of Analog Mastering Equalizers

If there was a hierarchy of analog studio gear (and let’s face it, there kind of is) it’d be hard to dispute the Chandler Limited® Curve Bender’s claim to the throne. Among analog mastering grade equalizers, this one’s about as blue-blooded as they come.

With tremendous pedigree, huge yet controlled power, and most importantly, exceptional sound quality, thanks to component-level modelling of the original germanium and inductor circuits, the Curve Bender, now available for the first time in native format, reigns supreme over the domain of tone-shaping in analog mastering.

Legendary Circuits

The sound of this unit comes from equalizer circuits which can trace their lineage back to one of the most legendary high-end British consoles of all time, the EMI TG12345.

Subtle, yet powerful

With its gentle, carefully designed curves, silky top-end, and tight lows, it’s impossible not to improve your sound. Just set and forget.

Modern Royalty

In software form, the majestic sound quality of the Curve Bender is only built upon and expanded by the addition of Mid/Side processing.

Impeccable Lineage

The Chandler Limited® Curve Bender is based on desk circuits from the world-famous Abbey Road Studios in London, used to create albums of genuinely legendary status, such as Dark Side Of The Moon by Pink Floyd, and Abbey Road by The Beatles. And as with any truly supreme successor to a noble line, it builds on the greatness of its ancestors.

The Curve Bender has more bands (four, compared to the original console’s two), more fixed filter points (a huge fifty-one, up from just nine, chosen and designed in the image of the original circuits by Chandler Limited® founder, Wade Goeke), more Q and gain options, and added low and high pass filters, making the unit a mastering powerhouse without sacrificing the exquisite analog sound-flavor which made it a leader.

Modern Power

In software form, the Curve Bender plug-in not only allows you the luxury of using this ultra-special crown-jewel mastering EQ in multiple places in the same mix (across instrument groups AND the master bus, for example), but also adds functionality to the original hardware, with Mid/Side processing and channel linking. From left to right, mid to side, everything the light touches is yours.

A mastering grade processor, the Curve Bender is perfect for gently sculpting the entire mix, with never a hint of harshness despite its endless power.

Professional presets

To help you get the best out of the Curve Bender, we’ve asked some top professional mixing and mastering engineers to create presets. Quickly and easily dial in a sound you like by referencing Joe Chicarelli, Tony Maserati, Howard Willing, Kevin Kadish, and Maor Appelbaum.

Mastering, in particular, is all about subtlety, so you’ll want to tweak to taste, but these professional presets will give you great ideas, and get you in the ballpark of a stellar sound in seconds.

A Crowning Glory

Not all equalizers are created equal. The crisp, powerful, performance of the Chandler Limited® Curve Bender will open up the soundscape of any song, and take it to glorious new levels. Whether on the master bus, the drum group, or a lead vocal track, this kind of quality rules your sound without being brash or crude. It’s refined, natural, regal, and it will elevate your mixes whether you’re a club DJ, an urban poet beatmaker, a rock & roll rebel, or a pop princess. All people are the Curve Bender’s people.

In Short

  • Mastering grade analog equalizer.
  • Silky top-end and tight lows.
  • Based on legendary British console EQ circuits used on innumerable classic records.
  • Professional engineer presets from Joe Chicarelli, Tony Maserati, Howard Willing, Kevin Kadish, and Maor Appelbaum.
  • Improved with more bands, more filter-points, greater gain and Q flexibility, and additional low and high pass filters.
  • Added Mid/Side processing and channel linking in the plug-in.
  • Subtle yet authoritative; carefully considered curves and exceptional quality mean you can boost with confidence.
  • Set it and forget it – it always sounds good.
  • Use on master bus, instrument groups, or even individual tracks – it’s great on vocals.
  • A real crown jewel in your collection.

System Requirements

Mac

  • Mac OS X 10.12 or newer (older OS versions may work but are not tested).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation.
  • Softube account.
  • iLok account.
  • Internet access for downloading installer and managing licenses.
  • This software requires a Softube account and a free iLok account. A physical iLok USB dongle is NOT required.
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

Windows

  • Windows 64-bit, versions 7, 8 or 10.
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution 1280×800 or larger.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation.
  • Softube account.
  • iLok account.
  • Internet access for downloading installer and managing licenses.
  • This software requires a Softube account and a free iLok account. A physical iLok USB dongle is NOT required.
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

Please Note: Softube plug-ins support 64-bit hosts only, and a 64-bit OS is required.


29. EVE-AT1

by Kuassa

EVE-AT1

The EVE-AT1 is an equalizer modelled after the classic Neve* 1081. Add oomph, remove muddiness, give vocals a husky treatment, increase presence, remove rumble, and add character to any tracks, or a mix just before final mastering.

The Kuassa EVE-AT1 is an EQ inspired by the design of the legendary Neve* 1081 that is known for its clear, smooth, and very musical characteristics. We are thrilled by the sound and present this EQ as a modern tribute to one of the most influential audio tools ever created.

EVE-AT1 is a 4-band parametric equalizer with an additional high-pass and low-pass filter. Inspired by the EQ section of a renowned British Classic –the Neve* 1081 –this equalizer delivers a clear, smooth, and musical sound to shape your tracks. The EVE-AT1 possesses an additional parametric band with expanded Q bandwidth selection in the low-mid and high-mid frequency ranges as compared to the EVE-AT4. In addition, the AT1 implements a different high-pass and low-pass filter, giving the AT1 a slightly more conventional frequency response in these areas. These characteristics mean the EVE-AT1 is suitable for a broad range of musical applications, offering flexibility, versatility and all-around utility.

The AT1 was designed with simplicity and clarity in mind, allowing for straightforward usage and immediate productivity. It is suitable as a ‘go-to’ equalizer for a wide range of instruments and musical applications.

Features

  • Approximately +/-18dB (Narrow Q), and +/-12 dB (Broad Q)
  • Selectable broad/narrow Q bandwidth
  • Selectable shelf/peak filter mode
  • HP & LP, -18 dB/octave
  • A/B compare button, A/B copy button
  • Output trim, Phase Reverse Button

System Requirements

  • Windows XP, Vista, 7, or Later (32/64-bit)
  • Mac OS 10.5 or later (32/64-bit)
  • VST, VST3, Audio Units or AAX compatible Host Software

Note: This product is a plugin and a VST/VST3/AU/AAX compatible host/sequencer is needed to run this software.


30. 4020 Retro EQ Native

by McDSP

4020 Retro EQ Native

The 4020 Retro EQ is a four-band EQ and complimentary filter set. The HF and LF bands are shelving EQ, with two additional parametric EQs at the HMF and LMF bands. All EQ bands operate on a unique gain dependent variable slope/Q system for a vintage smooth sound and increased boost/cut frequency selectivity high gains. The HPF and LPF filters use a unique split-octave design giving a 12 dB/Oct slope near the selected frequency, and a maximum slope of 24 dB/Oct.

All Retro plug-ins use a McDSP designed output stage topology to eliminate digital clipping at any output level and produce a smoother distortion characteristic. This feature is in addition to the analog saturation modeling that has made McDSP famous over the last decade.

Retro plug-ins are a line of ‘classics’ that can live up to their own name without emulating something else.

Features

  • Unique original algorithms with transparent yet vintage sound
  • Variable slope filtering
  • Variable Q/slope Shelving and Parametric EQ
  • Anti-Clip Output Stage Topology
  • Analog Saturation Modeling
  • Double Precision Processing
  • Ultra Low Latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only).

Windows:

  • Windows 7 or higher (32/64-bit).

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


31. 6020 Ultimate EQ Native

by McDSP

6020 Ultimate EQ Native

The 6020 Ultimate EQ is a collection of ten equalizer models using the popular module format leveraging McDSP’s 15+ years of design experience.

All 6020 Ultimate EQ modules are designed by McDSP, drawing on inspiration from classic and modern equalizers over the last four decades. Each module is easy to operate, and yet has enough sophistication for the most discerning professional.
Whatever your style, from smooth tube emulations to aggressive solid-state designs, the 6020 Ultimate EQ has a custom-made equalizer module that is just right for you.

Features

  • 10 EQ modules in a single interface
  • Input & output control
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

6020 EQ Modules

E670

The McDSP E670 module has three bands, each with its own continuous gain and frequency controls. The E670, like the original 664 module, is a program equalizer – a gentle set of EQ curves to tweak the tonality of the input signal.

Moo Q

The Moo Q module is a program equalizer like the E670, but derived from all tube designs of the last few decades. Three bands with continuous gain and frequency controls are included, plus some ‘tube accents’ in the output stage of the equalizer.

iQ

The iQ has only two bands – a low shelf EQ and a high shelf EQ. Additional circuitry is included for coloring the sound, even when the all equalizer gains are set to zero. If you are looking for some low end ‘glow’ or high end ‘sheen’, the iQ module is a good choice.

E300/E301

The E300 and E301 modules have the same frequency ranges, with the E301 narrower in bandwidth. Both modules are fairly utilitarian – good for shaping up guitar track tones, bringing out a vocal, or getting the most out of your drum tracks.

British-E

The classic high pass filter, low shelf, parametric, and high shelf combination makes the British-E module useful for many mixing applications.

EZ Q

Using the same filter and equalizer configuration as found in the British-E module – a high pass filter to carve out the rumble, capable low and high shelving EQ, and a fairly flexible parametric EQ, the EZ Q module gets the job done.

EQ’76

The EQ’76 module is meant to be paired with the SST’76 compression module from the 6030 Ultimate Compressor. The EQ’76 has four bands of parametric equalization, each with a slight Q-gain dependency.

FRG EEE

The FRG EEE is a capable equalizer – with the low and high shelving bands performing some amount of cut/boost to offset the boost/cut selected – a clever design technique from many classic equalizers.

E357

The E357 module is three bands of aggressive equalization. The shelving bands have more punch at the low end, and a brighter top end, than any other shelving EQ in the 6020 collection.

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


32. Passive-Active Pack

by Softube

Passive-Active Pack

The Passive-Active Pack is a collection of three very different equalizers, each with its own character and quirks. The Passive and Active equalizers emulate real workhorse units, used on thousands of recordings from past to present. The Focusing Equalizer combines these with analog sounding saturation and a novel workflow.

Passive Equalizer

Passive Equalizer is modeled from a famous German passive three-band equalizer, and features a wide bandwidth and an unsurpassed clear and open sound. The low boost gives you a warm low end, perfect to fatten up a bass drum or bass guitar track. Cutting the highs gives you a very gentle 6 dB cut which allows you to remove highs in a very musical way. The high boost is open and crisp and breathes life into any track.

Key Features:

  • Three bands with an extremely wide and open sound
  • Excellent treble control without any “digital harshness”
  • Warm low end and a sparkling top

Active Equalizer

Active Equalizer is modeled from an active equalizer design made somewhere in the Swiss alps in the seventies. Whereas the Passive Equalizer is wide, clear and unintrusive, the Active Equalizer is more of a surgeon with a tight and focused sound. It’s a highly useful problem solver when you need to get into details.

 Key Features:

  • Tight and focused sounding filters
  • Low and High cut
  • Three parametric bands with selectable gain in 2dB steps (-/+ 16 dB), selectable frequency with overlapping, but non-interfering, bands (50-500 Hz, 380Hz-3.8kHz, 1.8-18kHz) and a choice between a narrow or wide peak (Q) for each band

Focusing Equalizer

Focusing Equalizer is an inspiring and untraditional take on the EQ concept, which is all made up by Softube. The Focusing Equalizer works in a very musical way and does a lot of thinking for you.

At first glance it may seem like you’re sacrificing versatility by using an equalizer with a limited set of options – why use a three-band equalizer when you can use your digital equalizer with umpteen bands, continous gain, selectable Q and different curves all built in? Well, equalization is all about sound design. Having an equalizer where the designer has already made some of the choices four you is like having an experienced sound engineer helping out and giving you directions.

Key Features:

  • Inspiring, untraditional and very useful workflow
  • Choose between Passive or Active EQ character
  • Three-band EQ that automatically and musically changes with Low and High Cut
  • Built-in one knob saturation with metering and selectable saturation type

System Requirements:

Version 2.0 of the Softube plug-ins have the following minimum requirements:

All Native Versions:

  • Mac OS X 10.9 or newer
  • Windows 64-bit, versions 8 or 10
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer
  • Screen resolution larger than 1280×800
  • 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space)
  • Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application
  • Softube/Gobbler account
  • Gobbler application to manage license activation and plug-in downloads
  • Please make sure that you always use the latest iLok License Manager. It is not included in the Softube installer, but can be downloaded from www.ilok.com
  • Broadband internet access for downloading installer and register licenses

Note: All Softube plug-ins support both 32- and 64-bit hosts, although a 64-bit OS is required. Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

AAX DSP version:

  • For AAX DSP you need to meet the requirements for the Native version. You also need to have an Avid HDX processing card
  • Different plug-ins will have a different load on your HDX card, please see the AAX DSP Supported Instances per DSP card for more information

Please note: Windows XP and Vista are no longer officially supported.


33. Sie-Q

by Soundtoys

Sie-Q

Classic Color

In our quest to capture unique tones and colors from the world of hardware, we dug deep into the Soundtoys gear museum and found a little known gem: the Siemens W295b. It impressed us so much that it became the inspiration for our first EQ. Sie-Q faithfully captures the hardware’s smooth curves, airy highs and ease of use, allowing you to get the tone you want fast, without a lot of hassle.

Of course, in classic Soundtoys tradition, we’ve also carefully modeled its saturation character so you can hit it hard and get the real analog vibe of the hardware. The magic of this classic piece is now in your hands and in your mix.

Great Highs

The stand out feature of Sie-Q, like the original, is its amazing high end. It adds space and air, and feels perfect on any track, no matter how much you boost.  Turn up the High knob to breathe life into vocals, or pull it back on bright acoustic guitars and cymbals to create a silky sheen. Sie-Q is also a fantastic addition to your master bus–just a touch of the High band can add life and openness. , Is your mix sounding a little too digital? Combining Sie-Q and Decapitator in the Soundtoys Effect Rack is the perfect remedy.

EQ with IQ

Like the original, Sie-Q is an EQ that’s hard to make sound bad. One of the things we love so much about the W295b is that even though it’s over half a century old, the design is as intelligent today as it was back in the 60s. When you use it, it just feels like all the hard work has been done for you.

Designed for broadcast, its frequencies and curves were carefully chosen to keep things sounding good no matter what. And this clever design translates perfectly to tracking and mixing records, too. From full mixes to sub-mixes, to vocals and guitars, to drums and percussion this EQ helps you find the sweetness without the hassle.

Features

  • Get airy top end with the super-smooth High band
  • Accentuate or tame mid-range details with the switched Mid band
  • Carve out some space or add rich bass with the Low band
  • Push the Drive control to recreate the color of the original EQ

System Requirements

Plug-in Formats (64-bit only):

  • AAX Native, AAX AudioSuite, VST, and Audio Units (AU)

Supported Sample Rates:

  • Minimum: 44.1 kHz, Maximum: 192 kHz

Minimum Requirements:

  • Operating systems: Mac OS X 10.8 or later; Windows 7 or later
  • An internet connection is required at the time of activation
  •  A FREE account at ilok.com is required (a physical USB iLok is not required)

Officially Supported Host Applications

All version 5 Soundtoys products come with 64-bit VST, AU and AAX Native plug-in formats. Here is a list of all of the DAWs (Digital Audio Workstations) that we currently support:

  • Pro Tools 10.3.5 – 2018 (Mac & PC: AAX Native and AudioSuite)
  • Logic Pro 9 & X (​Mac: AudioUnits)
  • Ableton Live 9.2.2 – 10.1 (Mac: AudioUnits & VST; Windows: VST)
  • Digital Performer 8 – 10 (​Mac: AudioUnits & VST; Windows: VST)
  • Studio One 4.5 (Mac: AudioUnits & VST; Windows: VST)
  • Cubase 7 – 10  (Mac & PC: VST)
  • ​Nuendo 6 – 10 (​Mac & PC: VST)

Important Notes: 

  • You need to have a FREE account at ilok.com to be able to register and use purchased versions of any Soundtoys software.
  • This software is 64-bit only and is not compatible on 32-bit systems.

34. MFreeformEqualizer

by MeldaProduction

MFreeformEqualizer

MFreeformEqualizer is a FFT based linear-phase equalizer which can provide virtually any frequency response and may save you when other methods have failed. Using MFreeformEqualizer you can literally draw any frequency response you may want. You can correct problematic frequencies with surgical accuracy, play with the spectrum, or even create interesting effects.

Features

  • Freeform equalizer with range up to -64dB..64dB editable using the MeldaProduction Envelope System (MES).
  • Integrated powerful spectral analyzer and sonogram – despite the main judge should always be your ears, the plugin offers an outstanding spectral analyzer combined with a sonogram with truly unique features such as super-resolution (which provides higher resolution in bass frequencies) or deharmonization (for easier analysis of fundamental frequencies).
  • Up to 8 channels surround processing – our plugins can handle not only mono and stereo signals, but also up to 8 channels of surround audio, making them ideal for audio production for movies, games etc.
  • Extremely advanced and easy-to-use user interface – our products are always designed to enhance the workflow. You can easily change all values, fine-tune each control in multiple ways. Easy orientation in a standardized GUI, textual editing and smooth visualization with almost unlimited zooming are standard in all of our plugins. Moreover our plugins are the world first (and still the only ones), which support resizable and stylable GUI’s.
  • MIDI controllers with MIDI learn – you can map any parameter to any MIDI controller or MIDI keyboard and control it realtime or record and automate it.
  • 64-bit processing and an unlimited sampling rate, recommended maximum is 384kHz.
  • Very fast, optimized for SSE and SSE2 processors.
  • Global preset management and online preset exchange – using a title button you can save your settings (which are shared on the computer) so you can easily access these in other songs. Moreover all plugins can automatically share your presets and download presets of other users from our servers (if this feature is enabled). We are building a community and you can be a part of it!
  • Fully Automatable.

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

35. smart:EQ live

by sonible

smart:EQ live

The new adaptive equalizer from sonible continuously analyses audio signals and optimizes them in real-time. smart:EQ live has your back, so you can focus on the things that really count when mixing live.

  • Latency-free smart:engineTM for any live situation
  • Optimally balanced sound within seconds
  • Additional safety net for hassle-free mixing

smart:EQ live is the award-winning smart:EQ as latency-free live plug-in. The high-precision adaptive filter of smart:EQ live analyzes audio signals, interprets them musically and compensates spectral imbalances in real-time. The plug-in leads to a more transparent sound image within seconds and enables a streamlined workflow for live sound mixing. 

Live sound engineers are all too familiar with stressful circumstances. Often there is little or no time for sound checks and proper preparation. Engineers constantly have to deal with unexpected situations and need to make substantial decisions within seconds. sonible developed smart:EQ live to take some pressure off of them and enable new workflows in live sound. The plug-in completes basic repair tasks for you and helps to produce a homogeneous, clear sound image at every venue. 

Improving the live workflow has been the main objective from the beginning: “Live technicians can now focus more on the musical experience for both artists and audiences instead of having to troubleshoot all the time”, explains sonible CEO Ralf Baumgartner, who himself has over 15 years of experience as a live sound engineer.

Hand in hand: Fully controllable AI

smart:EQ live belongs to the latest generation of AI mixing assistants. Rather than offering a one-size-fits-all solution, however, sonible provides a sophisticated and powerful EQing tool. The plug-in provides detailed but intuitive controls and allows adjusting the algorithm to the mixing task at hand. Informed by years of hands-on experience, the practice-oriented selection of parameters facilitates a targeted adaptation and control of the smart:engineTM algorithm to your purposes. Bandwidth, responsiveness and the weighting of the autonomous calculated filter curve can be precisely defined. The threshold and the limit line of the smart-band primes the algorithm for the essential signal components.

Custom-made profiles add even more flexibility by optimizing the smart algorithm for different source signals. The profiles tell the AI what kind of instrument or voice it deals with. Similar to a preset, the user can edit and save them individually.

All the world’s a stage: from intimate concerts to international broadcasting

In addition to helping to mix at concerts, smart:EQ live also brings significant advantages at corporate events and live broadcasting. The software is perfect for complementing other adaptive live technologies: it handles challenges like less-than-ideal microphone positioning or fast back-and-forth switching between different speakers without any artifacts.

On top of that, smart:EQ live can also function like a capable safety net. The adaptive filter banks are very resistant to feedback. They automatically detect and eliminate critical resonances. The smart-band intervenes long before the relevant parameters can be accessed manually by the user.

System Requirements

Mac

  • Windows 7+
  • VST2, VST3, AAX, Waves MultiRack Native
  • Supported Samplerates 44.1 kHz to 192 kHz
  • RAM at least 4 GB (recommended)
  • CPU at least intel DualCore i5 (recommended)
  • Lok License Manager

PC

  • MacOSX 10.7+
  • AU, VST2, VST3, AAX, Waves MultiRack Native
  • Supported Samplerates 44.1 kHz to 192 kHz
  • RAM at least 4 GB (recommended)
  • CPU at least intel DualCore i5 (recommended)
  • Lok License Manager

Important Note: In order to activate your product, you must have the soft iLok License Manager installed on your computer. You DO NOT need an iLok account or a physical iLok USB Dongle.


36. Tonelux Tilt and Tilt Live

by Softube

Tonelux Tilt and Tilt Live

Go from shimmering bright to warm and wide with a twist of a knob! The Tonelux Tilt plug-in is a fast and easy way of making a track sit better in a mix or make it sound “warmer” or “cooler”. It’s also perfect in a live situation where you need to tweak the whole mix to adjust for ear fatigue.

You may want to put Tonelux Tilt first on all your channels. It includes all the controls you need for a quick and rough setting before you get into the details – and it’s quite possible you will find that Tilt was all your track needed to find its place in the mix.

The Tilt filter does precisely what the name says – if you activate it and turn the control knob clockwise, it will attenuate the lows and boost the highs. Go counterclockwise, and the opposite happens – the sound gets fatter and darker. Turn on or off the Loud switch to make the effect stronger or back to keep it more subtle. So by the twist of a single knob, you give your sound a basic and nice sounding frequency trimming.

Move on to the gentle and natural sounding high and low pass filters, that are sweepable and switchable from -6dB to -12 dB per octave. Finally, you will find a polarity reversal switch and a gain knob. See? All you need for a basic rough setting of each and every channel! Softube’s model of Tonelux Tilt also includes modeling of the transformer found in the Tonelux MP1a mic preamp. The transformer adds a subtle distortion for bass frequencies which fattens up the low end of a track.

The Tilt plug-in is a joint development effort between Tonelux designer Paul Wolff and Softube, bringing the famous Tonelux sound to the digital world. The innovative Tilt design was first featured on the Tonelux MP1a discrete mic preamp module and has been a godsend for engineers and producers that need to take control of their sound in a fast and effective manner.

A special “Live” version of the Tilt plug-in is included, which is optimized for Digidesign VENUE and other live systems and contains features requested by live sound engineers.

Features:

  • Get the basic sound in place with a single knob
  • High and Low Pass filters, with 12 dB/oct option
  • Modeled output transformer distortion
  • Created together with original Tonelux designer Paul Wolff
  • Tilt Live plug-in included, optimized for live sound engineers
  • Very CPU friendly

System Requirements:

Version 2.0 of the Softube plug-ins have the following minimum requirements:

All Native Versions:

  • Mac OS X 10.9 or newer
  • Windows 64-bit, versions 8 or 10
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer
  • Screen resolution larger than 1280×800
  • 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space)
  • Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application
  • Softube/Gobbler account
  • Gobbler application to manage license activation and plug-in downloads
  • Please make sure that you always use the latest iLok License Manager. It is not included in the Softube installer, but can be downloaded from www.ilok.com
  • Broadband internet access for downloading installer and register licenses

Note: All Softube plug-ins support both 32- and 64-bit hosts, although a 64-bit OS is required. Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

AAX DSP version:

  • For AAX DSP you need to meet the requirements for the Native version. You also need to have an Avid HDX processing card
  • Different plug-ins will have a different load on your HDX card, please see the AAX DSP Supported Instances per DSP card for more information

Please note: Windows XP and Vista are no longer officially supported.


37. Oxford EQ V3

by Sonnox

Oxford EQ V3

A great sounding EQ is essential to any mix. Which EQ to use can vary depending on artistic requirement, but quality and flexibility are both critical at all times. What if there was one Plug-In with four distinct EQ types – from surgical to musical – with a track record of being used to mix the biggest hits, films, and live shows?

Enter our flagship Oxford EQ, a Plug-In that traces its heritage to the original EQ section on the acclaimed Sony OXF-R3 digital console. Hallmark sonic transparency meets a simple and interactive interface – resulting in quick, confident and great sounding mix decisions.

Features

  • 5-band parametric EQ with variable-slope HP/LP filters
  • Four completely different sounding EQ types
  • Clinical EQ similar to the SSL4000 E series 
  • Tighter ‘cut’ for removing problem frequencies
  • Classic EQ similar to Neve and SSL G series curves
  • Wide and gentle curves perfect for mastering 
  • Automatable A/B compare button toggles EQ settings
  • Ultra low noise and distortion

GML Option

An optional 5th EQ type is available for Pro Tools HD and HDX users – an exact emulation of the highly regarded GML-8200 EQ hardware unit.

Originally designed in collaboration with George Massenburg for the OXF-R3 console, the GML Option faithfully reproduces all the control ranges and responses of the classic analogue original – even delivering centre frequencies up to 26KHz to provide a smooth airy top-end to your tracks.

Imagine your Pro Tools HD session loaded with fully endorsed GML-8200 EQ emulations, with that sound, multiple instantiations, recall and complete automation.

System Requirements

Pro Tools

  • Pro Tools 10.3.8, 11.3.2, 12 (AAX Native)
  • Pro Tools 7, 8, 9, 10 (RTAS)
  • Approved Pro Tools CPU, OS and hardware configuration: www.avid.com 
  • Legacy support for OS X 10.4.11 – 10.6.8  & Windows XP: RTAS
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for AAX plug-ins

Audio Units

  • Audio Units-compatible application (Logic, Digital Performer etc)
  • Mac OS X 10.7 – 10.11
  • (El Capitan supported where confirmed by host DAW manufacturer)
  • Legacy 32-bit support for OS X 10.4.11 – 10.6.8
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for 64-bit plug-ins

VST2

  • VST2-compatible application (Cubase, Nuendo, Sequoia etc)
  • Mac OS X 10.7 – 10.11
  • (El Capitan supported where confirmed by host DAW manufacturer)
  • Windows 7 or later
  • Legacy 32-bit support for OS X 10.4.11 – 10.6.8 & Windows XP
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for 64-bit plug-ins

Supported Hosts

Mac:

  • Pro Tools 10.3.8 – 12 (AAX Native)
  • Pro Tools 7 – 10 (RTAS)
  • Logic Pro X 10.2
  • Logic 8 & 9
  • Digital Performer
  • Nuendo    
  • Cubase
  • Ableton
  • Studio 1

Windows:

  • Pro Tools 10.3.8 – 12 (AAX Native)
  • Pro Tools 7 – 10 (RTAS)
  • Nuendo
  • Cubase
  • Ableton
  • Samplitude
  • Sequoia
  • Pyramix
  • Studio 1

Please Note: This product now supports iLok Cloud Authorisation. An iLok USB Dongle OR an active internet connection is required in order to activate and use this product.​


38. Tube-Tech Equalizer Collection

by Softube

Tube-Tech Equalizer Collection

Fat, tube-driven, passive equalizers can be so much more than functional tools. They impart character and style to any source; drums, synths, vocals, guitars, strings, brass… you name it! As such, they’ve been sought after in top-of-the-line international studios for decades, and their sound enriches the textures of thousands of classic records, in every genre you can imagine.

Now combined into a single plug-in, which not only improves the workflow but allows for a revitalized approach to the sonics using Softube’s latest digital signal processing technology, the Tube-Tech Equalizers Mk II are a huge step forward for an already phenomenal pair of processors.

By combining the PE 1C and ME 1B equalizers, Softube have made a new beast which benefits from Softube’s latest signal-processing technology. Sound engineers all over the world praise the ‘Pultec’ tube-driven passive equalizer PE 1C for its super huge bass and its silky shiny treble. The all-new high-res graphics look absolutely stunning on any display.

Long and Happy Partnership

As long ago as 2006, Softube formed a partnership with Tube-Tech of Lydkraft, Denmark, and began work on what would become the definitive plug-in representations of Tube-Tech’s best and most highly-prized analogue hardware units.

In 2018 Softube released the updated Mk II versions; a total ground-up remodel of the CL 1B compressor, and a single combined EQ plug-in, taking advantage of Softube’s latest signal processing technology. Softube also added stunning high-resolution graphics and additional features to make the best even better.

Much More Than Function

Fat, tube-driven, passive equalizers can be so much more than functional tools. They impart character and style to any source; drums, synths, vocals, guitars, strings, brass… you name it! As such, they’ve been sought after in top-of-the-line international studios for decades, and their sound enriches the textures of thousands of classic records, in every genre you can imagine.

Quite a Few Tricks Up Its Sleeves

Try, for example, the famous ‘Pultec’ low-end trick. Because the filters for the low-frequency boost and attenuate functions are slightly offset in frequency (despite being controlled by the same frequency knob) it’s possible to create attractive and well-focused bumps or cuts in the low end by boosting and attenuating simultaneously. Give a kick drum more body, for example, by boosting heavily at 60 CPS and then attenuating to deal with the muddiness. The bump will remain, but you’ll have cleaned up too.

Unmatchable Together

The ME 1B was designed to accompany the PE 1C equalizer, and provide control over the frequencies that the PE 1C cannot adjust. On its own it’s a great tool to shape the midrange of any audio material, and together with the PE 1C it becomes a versatile and full-featured equalizer.

Straightforward Interface

The user interface of the ME 1B is pretty straightforward. You have three different sections, the Low-Frequency Peak, Mid Frequency Dip and the High-Frequency Peak. The only confusing thing is that the midsection never boosts, but always attenuates the selected frequency. The other two sections, low and high frequency, always boost the frequencies. But as soon as you start to use the ME 1B in conjunction with the Tube-Tech PE 1C ‘Pultec’ Equalizer you’ll find that these equalizers complement each other perfectly.

Features

  • Improved sound, updated using Softube’s latest signal processing technology.
  • Spectacular new high-resolution graphics.
  • Still the same epic audio processors they always were.
  • A ‘Pultec’-style low and high-end equalizer.
  • Mid-range equalizer with the same passive, tube-driven design.
  • Combined into one plug-in for better workflow and sound than ever.
  • Legacy plug-ins included.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.

System Requirements

  • Mac OS X 10.9 or newer (64-bit only).
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only).
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
  • Screen resolution larger than 1280×800.
  • 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space).
  • Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application.
  • Softube/Gobbler account.
  • Gobbler application to manage license activation and plug-in downloads.
  • Please make sure that you always use the latest iLok License Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com
  • Broadband internet access for downloading installer and register licenses.

Please Note: Due to plug-in host differences between DAWs – and Softube’s own rigorous testing standards – Softube only officially test their plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. Softube cannot guarantee a solution for issues in unsupported systems.


39. Pivot

by Venomode

Pivot

Pivot is a tilt equaliser, with adjustable slope and mid/side modes. Powerful EQ, made simple.

Features

Shift Your Weight

Pivot is a simple to use tilt EQ, allowing you to shift the spectral content of your track around a mid-point like a seesaw. A little bass heavy? Turn the dial to the left. Treble a bit loud? Move it to the right. It features an adjustable slope and mid-way point to get the exact balance you need.

Mid/Side EQ

Along with normal mono or stereo processing, Pivot offers a mid/side mode. Useful for making your master sound more immersive, you can brighten up the side channel for a bright and wide feel, or reduce the level of stereo bass, tidying up the stereo spread of your bass frequencies.

Lightweight

As far as consuming your CPU goes, Pivot isn’t hungry. You can load up multiple instances on multiple tracks without grinding your workstation to a halt. It also has the option to do simple shelf boost and cuts, meaning you can replace your sluggish and unintuitive EQs when you just want a quick adjustment.

In Detail

Pivot is a powerful tilt equaliser, allowing you to quickly shift the spectral content of your audio. Mid/Side modes allow you to adjust the stereo content of your audio separately, allowing you to clean up muddy stereo bass, or crisp up the wide treble in your master tracks.

System Requirements

Pivot should work in any DAW that can run VST or AU plugins, on any dual core system with at least 1GB of RAM.

Windows

  • Windows Vista / 7 / 8 / 10
  • 32 / 64-bit VST Compatible DAW
  • 1GB RAM
  • Dual Core Processor
  • 1024×768 Screen Resolution

Mac OSX

  • OSX 10.7+
  • 64-bit VST / AU Compatible DAW
  • 1GB RAM
  • Dual Core Processor
  • 1024×768 Screen Resolution

40. MFreeformAnalogEQ

by MeldaProduction

MFreeformAnalogEQ

MFreeformAnalogEq is a unique equalizer, that allows you to draw any frequency response you wish and then attempts to match the response by applying analog filters using our MeldaProduction Filter Adaption technology (MFA). If the response you draw can be achieved using analog filters, then MFreeformAnalogEq will create it for you so now there’s no need to worry about complicated parametric equalizer settings anymore. MFreeformAnalogEq combines an extremely quick and easy-to-use interface with the highest analog audio quality available.

Features

  • Freeform equalizer with range up to -64dB..64dB editable using the MeldaProduction Envelope System (MES).
  • Integrated powerful spectral analyzer and sonogram – despite the main judge should always be your ears, the plugin offers an outstanding spectral analyzer combined with a sonogram with truly unique features such as super-resolution (which provides higher resolution in bass frequencies) or deharmonization (for easier analysis of fundamental frequencies).
  • Integrated tube saturation gives the sound a great vintage analogue feel.
  • Up to 8 channels surround processing – our plugins can handle not only mono and stereo signals, but also up to 8 channels of surround audio, making them ideal for audio production for movies, games etc.
  • Adjustable up-sampling 1x-4x to minimize aliasing and get an even clearer sound.
  • Extremely advanced and easy-to-use user interface – our products are always designed to enhance the workflow. You can easily change all values, fine-tune each control in multiple ways. Easy orientation in a standardized GUI, textual editing and smooth visualization with almost unlimited zooming are standard in all of our plugins. Moreover our plugins are the world first (and still the only ones), which support resizable and stylable GUI’s.
  • MIDI controllers with MIDI learn – you can map any parameter to any MIDI controller or MIDI keyboard and control it realtime or record and automate it.
  • Very fast, optimized for SSE and SSE2 processors.
  • Global preset management and online preset exchange – using a title button you can save your settings (which are shared on the computer) so you can easily access these in other songs. Moreover all plugins can automatically share your presets and download presets of other users from our servers (if this feature is enabled). We are building a community and you can be a part of it!
  • Fully Automatable.

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

41. Tube-Tech ME 1B Mid-Range Equalizer

by Softube

Tube-Tech ME 1B Mid-Range Equalizer

The real battle for getting a clear and vibrant mix is often fought in the midrange frequencies. The Tube-Tech ME 1B is a tube-driven passive equalizer that addresses the midrange—and only the midrange. So gear up, soldier and go, go, go!

The ME 1B is Tube-Tech’s unique take on the classic Pultec MEQ-5 midrange equalizer. There’s a lot of mojo going on in the Pultec designs, but the biggest mojo of it is that it is so well-designed that almost whatever setting you use, it will sound good.

Just like the Tube-Tech PE 1C “Pultec” Equalizer, the Tube-Tech ME 1B is a passive, tube-based equalizer. It was designed to accompany the PE 1C equalizer, and provide control over the frequencies that the PE 1C cannot adjust. On its own it’s a great tool to shape the midrange of any audio material, and together with the PE 1C it becomes a versatile and full featured equalizer.

The user interface of the ME 1B is pretty straightforward. You have three different sections, the Low Frequency Peak, Mid Frequency Dip and the High Frequency Peak. The only confusing thing is that the mid section never boosts, but always attenuates the selected frequency. The other two sections, low and high frequency, always boost the frequencies. But as soon as you start to use the ME 1B in conjunction with the Tube-Tech PE 1C “Pultec” Equalizer you’ll find that these equalizers complement each other perfectly.

Features

  • Pultec style mid-range equalizer
  • Classic Tube-Tech sound, created together with the designers at Tube-Tech
  • Each and every component carefully modeled
  • Perfect companion to the Tube-Tech PE 1C
  • Modeled output transformer
  • Extremely analog behavior of frequencies, phase, distortion, etc
  • CPU friendly

System Requirements

  • Mac OS X 10.12 or newer: older OS versions may work but are not tested (64-bit only)
  • Windows 64-bit, versions 7, 8 or 10 (64-bit only)
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer
  • Screen resolution larger than 1280×800
  • 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space)
  • Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application
  • A FREE Softube & iLok account are both required for authorisation of the software
  • Physical iLok USB generation 2 and above is required (optional) if you intend to use an iLok dongle for authorizing your plug-ins (*note that an iLok dongle is not a requirement).
  • In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work.
  • Please make sure that you always use the latest iLok Licence Manager. It is not included in the Softube installer but can be downloaded from www.ilok.com.
  • Broadband internet access for downloading installer and register licences​.

However, due to plug-in host differences between DAWs – and our own rigorous testing standards – we only officially test our plug-ins and instruments in the most recent versions of Pro Tools, Logic Pro, Cubase, Live, Studio One, Digital Performer, Reaper and Sonar. Softube plugins are not tested in the non-listed systems, but they most likely work as long as the system requirements are met. We cannot guarantee a solution for issues in unsupported systems.

Please Note:

  • Softube plug-ins support 64-bit hosts only, and a 64-bit OS is required. Therefore, for example, Pro Tools 10.x is no longer supported (contact support for latest 32-bit compatible installers).
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • The most recent maintenance release of the DAW application is recommended.
  • Pro Tools 10 is not officially qualified by Avid higher than OS X 10.8.

42. AE400 Active EQ Native

by McDSP

AE400 Active EQ Native

The AE400 is an advanced active equalizer suitable for music production, post-production, and live sound.

The AE400 is made up of 4 bands of fixed and active equalization. Each band is completely overlapping with all other bands and has its own Q (bandwidth), fixed gain, and active gain controls. A key filter for each band allows the active gain response to be as selective or broad as needed, based on the Q (bandwidth) control. Each band can use the input signal or selected side chain signal to trigger the active EQ response.

The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot. The AE400’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE400.

Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE400.

Features

  • Four fully overlapping fixed and active EQ bands
  • Independent control over all active EQ parameters per band
  • Unique active EQ ratio response control
  • Side chain support
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher, or Pro Tools 12.x or higher
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 7.x, 8.x, 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok cloud to authorize. Latest iLok drivers are recommended.  Cloud support requires v6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


43. SEQ-ST

by NUGEN Audio

SEQ-ST

SEQ-ST delivers sculpting power beyond any other EQ. The resizable direct-draw interface makes it easy to quickly fine-tune your audio, with incredible resolution that you can’t get with a traditional parametric interface. SEQ-ST gives you complete control over your spatial environment, with access to stereo & mid/side operation.

Unparalleled Flexibility

  • Linear phase spline EQ
  • Curve scaling and smoothing
  • Zoomable and resizable interface
  • No phase smearing
  • Frequency node locking
  • Psychoacoustic banding
  • Match EQ presets

Intuitive EQ Matching

Use SEQ-ST to capture the flavour of a piece of source audio and match it to your current work – great as a reference for mastering. Or use this match technique on individual tracks to unify different takes, microphone positions, and more.

Plus, by inverting the match EQ curve, you can achieve a minimally invasive technique for carving out space in a complex mix where traditional EQs won’t cut it.

For Music Production

Fine-tune and correct your sound with flexible, detailed envelopes difficult to achieve with a traditional parametric EQ. Plus, take advantage of independent left/right and mid/side operation, even within the same plug-in instance.

Use EQ matching to gently push your sound toward reference material or dive into new creative spheres with tempo locked effects. Ideal for both corrective mix work and gentle mastering polish.

For Post and Broadcast

Precise corrections which would be very time consuming with a traditional parametric interface are a breeze with SEQ-ST’s flexible nodes and direct draw interface.

Match ‘invert’ makes it quick and easy to find space for dialogue in a busy soundtrack, avoiding heavy-handed EQ or intrusive ducking.

Typical Applications

  • Independent control of left/right & mid/side channels
  • EQ matching
  • Creating ‘perfect space’ for vocals or dialogue
  • Mono and stereo audio production

System Requirements

Mac

  • Mac OSX 10.9 and above
  • 512 MB RAM
  • 64-bit only
  • Available in 64-bit AAX, VST3, AU & AudioSuite Formats

Windows

  • Windows Vista and above
  • 512 MB RAM
  • 64-bit only
  • Available in 64-bit AAX, VST3 & AudioSuite Formats

44. MEqualizerLP

by MeldaProduction

MEqualizerLP

MEqualizerLP mastering 8-band equalizer plugin is a surgical tool necessary for every mastering engineer. It has a crystal clear sound with minimal distortion (measured below -160dB). It doesn’t smear transients or create mud, nor does it alter the imaging and depth information of the original sound. It is especially useful for enhancing or correcting difficult material like vocals, instrumental soloists and groups, orchestral recordings and complex mixes, without introducing any unwanted colouring.

Features

  • 3 equalization algorithms with (approximately) the same frequency response – true bidirectional filtering algorithm, FFT algorithm and standard minimum phase equalization. Bidirectional filtering provides maximal accuracy and minimal noise ratio. As a supplement MEqualizerLinearPhase implements a standard equalization and FFT algorithm adopted in most cheap linear-phase equalizers.
  • Adjustable dry/wet mix – what is impossible for common equalizers due to phase alteration is not impossible for MEqualizerLinearPhase! Using just one slider you can have complete control of the amount of performed equalization.
  • Q in range 0.05 to 10 with protection against pops and crackles.
  • Integrated powerful spectral analyzer and sonogram – despite the main judge should always be your ears, the plugin offers an outstanding spectral analyzer combined with a sonogram with truly unique features such as super-resolution (which provides higher resolution in bass frequencies) or deharmonization (for easier analysis of fundamental frequencies).
  • 7 filter types for each band. – peak, low-shelf, high-shelf, low-pass, high-pass, band-pass, notch.
  • Advanced editor and smooth visualization of resulting frequency response. All parameters are adjustable from the graph. No more searching in complicated band editors. Just click on a band and configure all of the parameters from filter type and gain to advanced features such as harmonics control. Everything with almost infinite precision if you need maximum control.
  • Enable, Q, and Actual source level indication inside the shape graph.
  • Integrated tube saturation gives the sound a great vintage analogue feel.
  • Up to 8 channels surround processing – our plugins can handle not only mono and stereo signals, but also up to 8 channels of surround audio, making them ideal for audio production for movies, games etc.
  • Adjustable up-sampling 1x-4x to minimize aliasing and get an even clearer sound.
  • Extremely advanced and easy-to-use user interface – our products are always designed to enhance the workflow. You can easily change all values, fine-tune each control in multiple ways. Easy orientation in a standardized GUI, textual editing and smooth visualization with almost unlimited zooming are standard in all of our plugins. Moreover our plugins are the world first (and still the only ones), which support resizable and stylable GUI’s.
  • MIDI controllers with MIDI learn – you can map any parameter to any MIDI controller or MIDI keyboard and control it realtime or record and automate it.
  • Very fast, optimized for SSE and SSE2 processors.
  • Global preset management and online preset exchange – using a title button you can save your settings (which are shared on the computer) so you can easily access these in other songs. Moreover all plugins can automatically share your presets and download presets of other users from our servers (if this feature is enabled). We are building a community and you can be a part of it!
  • Fully Automatable.

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

45. Blue Cat’s Liny EQ

by Blue Cat Audio

Blue Cat's Liny EQ

Blue Cat’s Liny EQ is an 8 bands linear phase equalizer with very low latency and comprehensive visual feedback: thanks to its highly optimized linear phase kernel, it processes the signal without phase distortion, with an unusually short latency (less than 3 milliseconds).

Its wide range of gain (+-40dB) and multiple filter shapes make it very flexible for a graphic EQ, letting you create unique EQ curves. The dual channels version offers independent settings for the left/right or mid/side channels, with flexible linking capabilities for an optimal workflow.

The highly customizable user interface includes a first class spectrum analyzer and spectrogram viewer. It lets you choose the best layout and display options to adapt the plug-in to your own workflow.

Thanks to its ability to update the EQ curve continuously using MIDI or automation and its additionnal “Mix” control, dynamic equalization tasks can be performed easily when used together with any of our control generation plug-ins.

Features

  • Linear phase graphic equalizer
  • Very short latency (less than 3 ms: 128 samples at 44,1 kHz), with minimal pre-ringing artefacts.
  • Customizable range (+/- 40 dB).
  • Exact EQ curve display.
  • Four EQ shapes.
  • Automatic gain compensation.
  • Real time spectrum analyzer display.
  • High resolution color and greyscale spectrogram display.
  • High resolution color peak meter.
  • Single and dual channel versions.
  • Left/right or mid/side processing for spectral stereo widening or narrowing.
  • Advanced channels linking capabilities.
  • Multiple display sizes.
  • Highly customizable user interface: display what you need, the way you need.

Blue Cat Audio Standards

  • Available as: Mac-AAX, Mac-AU, Mac-RTAS, Mac-VST, Win-AAX, Win-DX, Win-RTAS, Win-VST, Win x64-DX, Win x64-VST.
  • Native DSP code for optimal performance.
  • Full MIDI control and automation support with silent, zipper-free parameters update, advanced response control and MIDI Learn.
  • No CPU load on idle: when the plug-in is fed with silence, the processing smoothly shuts down, to optimize the CPU usage of your Digital Audio Workstation.
  • Skinnable and customizable user interface with transparency management.
  • Smooth Bypass: activate/deactivate the plug-in with absolutely no noise.
  • Undo/Redo.
  • Full featured integrated presets manager.
  • Any sample rate supported.

System Requirements

Windows

  • An SSE2-enabled processor (Pentium 4 or later).
  • Microsoft Windows XP, Vista, Windows 7 or 8.
  • Any DirectX / VST / RTAS / AAX compatible host software (32 or 64 bit).

Mac OS X

  • An Intel processor.
  • Mac OS X Moutain Lion (10.8), Lion (10.7), Snow Leopard (10.6), or Leopard (10.5).
  • Any VST / Audio Unit (32/64-bit) / RTAS / AAX compatible application.

46. Summit Audio EQF-100

by Softube

Summit Audio EQF-100

The Summit Audio EQF-100 Full Range Passive Tube Equalizer really sets the standard for all passive equalizer designs. It is a highly versatile and sweet sounding equalizer that will solve most of the tonality issues you may experience in a mix. The EQF-100 is equally suitable for separate tracks as across subgroups or the entire stereo buss.

Flexibility and smoothness are the key features of this tube driven passive equalizer. Here’s finally an equalizer you can use in your DAW to boost frequencies and not limit yourself to cutting. Four fully parametric bands of equalization plus low and high cut filters with three selectable cutoff frequencies each make the EQF-100 a go-to equalizer for any sound or instrument in your mix. A mix that no doubt will sound warmer and fatter with the help of the EQF-100 and its unique blend of tube and solid state technology. If you want more edge from your EQ, just drive the output meter into the red and you’ll experience a woody and thick saturation coming from the output stage.

Features

  • Smooth sound and flexible operation
  • Modelled output stage distortion
  • Four fully parametric bands of equalisation with fixed frequency bands
  • High and low filters can be switched from bell to shelf
  • Three-position low and high cut filters
  • Each and every component carefully modelled

System Requirements

Version 2.0 of the Softube plug-ins have the following minimum requirements:

All Native Versions:

  • Mac OS X 10.9 or newer
  • Windows 64-bit, versions 8 or 10
  • Intel Core 2 Duo, AMD Athlon 64 X2 or newer
  • Screen resolution larger than 1280×800
  • 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space)
  • Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application
  • Softube/Gobbler account
  • Gobbler application to manage license activation and plug-in downloads
  • Please make sure that you always use the latest iLok License Manager. It is not included in the Softube installer, but can be downloaded from www.ilok.com
  • Broadband internet access for downloading installer and register licenses​

Please Note: 

  • Windows XP and Vista are no longer officially supported
  • All Softube plug-ins support both 32- and 64-bit hosts, although a 64-bit OS is required. Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo

47. Voxengo Curve EQ

by Voxengo

Voxengo Curve EQ

CurveEQ is a spline equalizer for professional music and audio production applications.  CurveEQ shows you the actual filter response you are designing by means of a spline (a smooth curvy line), so you can actually see what the EQ is doing with the sound. This, in turn, allows you to get the best from your mix and your tracks.  CurveEQ perfectly suits the needs of mastering.

CurveEQ implements spectrum matching technology that allows you to transfer spectrum’s shape of one recording to another.  In other words, this allows you to “copy” frequency balance of existing time-proven mixes so that other mixes that are still in the works may have a chance to sound better.  This technology also greatly helps in music mastering since it easily lessens any dramatic differences in the area of frequency balance between various tracks.

CurveEQ’s filters can be switched between linear- and minimum-phase modes.  CurveEQ also features a deeply-customizable spectrum analyzer like the one found in Voxengo GlissEQ and SPAN plug-ins.  You may also display, save and load static spectrum plots for comparison and matching purposes.

Applications

  • Mastering equalizer
  • Spectrum matching equalizer
  • Stereo, mid-side, 5.1 equalizer
  • Clean-sounding equalizer
  • Spectrum analyzer

Features

  • 3 EQ curves per channel group
  • Freeform EQ curve drawing mode
  • Stereo and multi-channel processing
  • Mid/side processing
  • Undo/redo history
  • All sample rates support
  • Linear- and minimum-phase filtering
  • CSV file import/export
  • Internal channel routing
  • 64-bit floating point processing
  • A/B comparisons
  • 53 ms compensated processing latency
  • Spectrum matching
  • Real-time FFT spectrum analyzer
  • Channel grouping
  • Preset manager
  • Contextual hint messages

System Requirements

This plug-in is compatible with Windows (32- and 64-bit Windows XP, Vista, 7 and later versions) and Mac OS X (10.5 and later versions, 32- and 64-bit, Intel processor-based) computers (2 GHz dual-core or faster processor with at least 1 GB of system RAM required).  A separate binary distribution file is available for each target computer platform for each audio plug-in specification.

Compatibility

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.

RTAS compatibility is available by using the FXpansion VST-RTAS adapter.


48. Stereoplacer

by NUGEN Audio

Stereoplacer

Pan Control for the 21st Century. Choose the frequencies you want to fix and move them anywhere, leaving the rest of the stereo image intact. Make improvements in any area of the sound stage without causing problems elsewhere. Stereoplacer gives you precise control you just can’t get within a traditional mix setup.

Focus in on the frequencies you want to move using the intuitive solo controls and then tweak/fix/align them in the stereo panorama without affecting any other regions – simple, quick and effective!

Stereoplacer is an advanced fine-tune parametric balancing control. You can tune each band into specific frequencies and move the frequency content around in the stereo sound stage. Just choose the position you want, and let Stereoplacer take care of preserving the balance of the original sounds.

With fully adjustable curves (bell, high and low shelving and even additional linked-harmonic overtones) you can redistribute stereo information with subtlety, or make powerful corrections – even moving hard-panned frequencies from one side to the other – without affecting the overall level balance of the material.

Applications

Mix | Sound design

  • Panning sounds with low frequency content without affecting the low end
  • Adjusting the position of sounds in sample loops
  • Fixing poor mic. placement
  • Moving specific problem frequencies away from key lead sounds as an alternative to EQ
  • Dealing with harmonically complex synth sounds
  • Addressing issues on FX laden tracks
  • Creative and complex soundfield distribution
  • A sophisticated approach to double tracking stereo distribution
  • Capturing and positioning harmonically rich percussive sounds

Mastering | Post | Restoration

  • Gentle linear phase adjustment of entire mixes
  • Re-positioning of specific elements
  • Extrapolation of poorly positioned instruments
  • ‘Side switching’ and re-balancing
  • Shifting of problem elements whilst leaving the rest of the soundfield intact
  • Detailed alignment of low frequency information

Enhance Recordings

  • Add stereo detail to mono recordings
  • Leaves original character intact
  • Highly mono compatible
  • Unique stereo positioning technology

Restore and Correct Original Material

  • Fix poor original recordings
  • Follow visual queues
  • Isolate specifics in complex composite sources

Clear Intuitive Operation

  • Dynamic visual feedback
  • Analogous parametric operation
  • Automated harmonic capture
  • Dedicated filter audition options

System Requirements

Available Formats

  • AAX, VST, VST3, AU and AudioSuite in both 64-bit and 32-bit versions. RTAS is also available as 32-bit only.

Mac

  • OSX 10.6.x, 512 MB RAM

Windows

  • XP or above, 512 MB RAM

49. MTurboEQ

by MeldaProduction

MTurboEQ

MTurboEQ is a unique vintage-style equalizer inspired by most of the well-known classic hardware. It’s not one of them, it’s all of them! For quick and easy equalization with pristine results.

Equalization reinvented for easier and faster workflow

MTurboEQ speeds up the workflow tremendously by providing access to so many classic equalizers in a single click. But it doesn’t stop there. The controls in each hardware were very different, and very weird in many cases, so one had to take a lot of time learning to work with such a clumsy interface. All models in MTurboEQ have pretty much the same user interface and features. There is always a low-shelf and a high-shelf, the most essential filters. Then there are usually 4 peak filters, even if the original had just one, and they always work the same way. And of course there are the classic goodies such as high-pass and low-pass filters (which are used on pretty much all tracks these days, but not many vintage equalizers actually had them), saturation to get some of the analogue feel, dry/wet for easy control of the amount of equalization, automatic gain compensation to avoid loudness trickery, mid/side/surround and more…

Stepped vs. Continous

Some people just like lots of versatility, others prefer having limited options. MTurboEQ provides both options. In Stepped mode almost everything has limited values – predefined frequencies for each filter, gain increasing by single decibels etc. It is much faster to make a decision this way, especially since bigger differences are easier to compare by ear. And when (if) you are ready, you can just switch to Continous mode for fine-tuning. MTurboEQ then lets you access all of the frequencies etc., even if the original hardware (and all emulations) didn’t have that. Courtesy of the digital world.

We did the hard work, you equalize!

There is no doubt, that you could do 99.9999% of the sound of any analog equalizer using a versatile parametric equalizer, such as MAutoDynamicEq. It’s just frequencies and curves after all, there’s no hidden magic. But the analogue equalizers have one big advantage – the design. They provide access only to what you will likely use, configured in such a way, that it all just sounds good from the beginning. We analyzed these designs, copied what we considered useful, trashed the rest (such as noise, hum, pointless overall gain changes…) and now we serve you a finished equalizer, which you can just plug in, turn a few knobs and you are done. It’s fast and the results are great, that’s all, no magic.

Features

  • The most advanced user interface on the market – stylable, resizable, GPU accelerated
  • Unique visualisation engine with classic meters and time graphs
  • M/S, single channel, up to 8 channels surround processing…
  • Automatic gain compensation (AGC)
  • Safety limiter
  • Adjustable up-sampling 1x-4x
  • MIDI controllers with MIDI learn
  • 64-bit processing and an unlimited sampling rate
  • Extremely fast, optimized for newest AVX capable processors
  • Global preset management and online preset exchange
  • Supports VST, VST3, AU and AAX interfaces on Windows & Mac, both 32-bit and 64-bit
  • No dongle nor internet access is required for activation
  • Free-for-life updates

System Requirements

Windows

  • Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
  • VST / VST3 / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

  • Mac OS X (10.7 and newer, 32-bit or 64-bit)
  • VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
  • Intel/AMD processor with SSE2 support

50. Oxford SuprEsser DS

by Sonnox

Oxford SuprEsser DS

The Oxford SuprEsser DS offers simple and precise control of aggressive frequencies between 1kHz & 20kHz – using the combination of 3 listen modes and a clear FFT display. Hear and see where to focus the Plug-In’s filters before dialling out a problem tone with a single control. There’s a simple mode for quick fixes with an advanced mode to hand for increased functionality and fine-tuning.

Features

  • Powerful Linear Phase De-Esser
  • Transparent and accurate control of aggressive frequencies
  • Auto Level Tracking follows the energy of the input and applies same relative gain reduction as signal level changes perfect to de-ess a vocal that’s quieter in verse than chorus
  • Low latency of 1.9ms (at 48kHz sample rate) 
  • Operates from 1kHz – 20kHz 
  • Wet/Dry control for quick parallel processing 
  • Sample rates up to and including 96kHz are supported 

System Requirements

Pro Tools:

  • Pro Tools 10.3.8, 11.3.2, 12 – AAX Native
  • Approved Pro Tools CPU, OS and hardware configuration
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for AAX plug-ins

Audio Units:

  • Not available

VST2:

  • Not available

Compatibility:

  • AAX

Supported Hosts:

Mac:

  • Pro Tools 10.3.8, 11.3.2, 12 (AAX Native)

Windows:

  • Pro Tools 10.3.8, 11.3.2, 12 (AAX Native)

Please Note: This product now supports iLok Cloud Authorisation. An iLok USB Dongle OR an active internet connection is required in order to activate and use this product.​


51. KickBox

by SoundSpot

KickBox

The kick drum is the backbone of many modern music genres, both electronic and acoustic. It’s Often times the thing you start with in a new mix, but to get it sounding just right can be a complex task.

A well mixed kick drum has a warm sounding low end, doesn’t sound too boxy and pierces through the mix in a very natural way. When designing KickBox, these are the qualities we’ve focused on, simplifying the mixing process for any modern kick drum.

The KickBox is modelled after analogue filters and separates the relevant frequency ranges in a very transparent way. KickBox can help you get your kicks sounding extremely tight in a matter of just a few clicks.

How to Use

KickBox can be used directly on both mono and stereo tracks. For most electronic kicks it is best used first or early in your mixing chain. For live recorded acoustic kicks however, it can be beneficial to use a shelving equaliser to achieve a general frequency balance before applying KickBox.

Equaliser

The EQ section of the KickBox has been stepped to target the most common areas of the frequency spectrum, allowing you to achieve precise balanced adjustments in a matter of a few clicks.

Each band has a frequency and db control and can be operated with simple click. The allows you to run through the values without looking at the plugin, so you can trust your ears and not your eyes.

The Q values allow you to zone in on the area you have selected. Value 1 represents the widest band width, with value 4 being the tightest notch.

Compressor

The compressor has been designed with a completely unique algorithm that has been designed to get your kick drums sounding punchy and clear.

The controls are the same Ratio, Threshold, Attack, Release and Make Up that are found on most compressors, so the workflow remains familiar to the user.

Limiter

Our new compressor algorithm allows users to drive their kicks like never before, with- out the fear of clipping. During testing, we achieved an RMS level of -5.8 without any distortion artefacts at all.

The limiter has no user editable controls, and will react in the best possible way to the signal being fed into it, so you can spend more time on the compression parameters, until the desired punch and thump is achieved.

Presets

Whilst the source material selected is the key to the results you can achieve, with KickBox we have created a small number of presets that can be found in the system presets dropdown.

To the right, you can see where the presets can be found within the system menu in Logic Pro X.

Alternative Applications

We designed the KickBox for kick drum processing, but as there are no rules in music, we decided to experiment with other source materials and discovered it also has many other interesting uses when used on other low end instruments like bass guitar, toms and other types of percussion. Why not experiment a little yourself.

Features:

  • Fast and intuitive workflow.
  • Analog modeled filters.
  • Suited for electronic and acoustic kick drums.
  • Extremely light on CPU and RAM.

System Requirements

Mac

  • OS X 10.7 and later (32 & 64-bit)

Formats:

  • AAX 
  • Audio Units (AU)
  • VST
  • VST3

Windows

  • Windows 7 and later (32 & 64-bit)

Formats:

  • AAX 
  • VST
  • VST3

52. Overtone

by SoundSpot

Overtone

Getting a balanced mix is key to achieving a great master that reproduces well across multiple playback systems. In the past, artists and labels would select mastering studio’s based on the engineer and the equipment they used. This was largely due to specific hardware’s ability to add a certain character to a mix. 

Since the explosion of software based mastering, you would think that these hardware units would be redundant. This however couldn’t be further from the truth, with labels and artists alike, seeking that warm & clear character that boutique EQ’s provide. 

At SoundSpot® we recognised that many software EQ’s are solely focused on being as transparent as possible and while transparency is certainly a virtue in some cases, we felt that the sparkle and unique character that boutique hardware adds was not being delivered in the software realm. 

With this in mind we set out to build a plugin with its own personal character that will truly give a hardware flavour to software mastering.​

The Interface

The Overtone interface has been designed to give the feel of an analogue EQ, which may seem slightly alien to those of you not familiar with using hardware. It may even seem a little old fashioned, but we can tell you that the sound is not the only reason that studios insist on using these units. 

When you are deprived of visual information, you are forced to trust your ears and make decisions based on what sounds good, and not what looks like the EQ curves you’ve seen on YouTube tutorials. As a result you’ll get a better mix with less second guessing.

Saturation

There is a theme with many software EQ’s to sound as transparent as possible, and whilst transparency is indeed a virtue, we felt that the digital age has brought too many neutral sounding plugins that differ based on functions and not the character of the sound. In the past, hardware EQ’s were selected for the unique character that they would bring to a mix, and so we set out to create a software EQ with it’s very own flavour.

This character is achieved by adding a saturation effect only to the boosted signal, which adds pleasant harmonics, creating a sense of warmth and clarity.

We do however appreciate there is a need for transparent equalisation, so we designed the plugin to be volume independent when at neutral settings, and volume dependent when boosted. What this means is the unit will remain transparent for cuts and add saturation to boosts.

We realise that some users will want to boost without the saturation, so we designed the plugin to react based on the input signal. If you feed a lower signal into the Overtone, the saturation will not kick in. Conversely, the more you drive the input, the more dramatic the saturation giving you the best of both worlds in one unit.

Solo – Stereo & Mid/Side

The Overtone has two settings you’ll all be familiar with, Stereo and Mid/Side mode. This allows you to get the overall mix balanced first, then switch into Mid/Side to create a more open stereo image. Combine this with the solo buttons allowing you to independently process the mid or side without hearing the other, and you’ve got some seriously accurate equalisation possibilities.

Notched Frequencies

When we set out creating the Overtone, we wanted to mimic the notched frequency ranges found within boutique hardware mastering equalisers. These frequencies have been tried and tested to be both versatile and deliver fantastic results. 

Whilst we used these frequencies as a starting point, we felt the ranges could be improved and after extensive research, we found a frequency range with very specific crossover points that were more harmonically pleasing, and had a greater musical feel than the hardware counterpart. 

Intelligent Channel Linking

Many EQ’s will make a direct copy from left to right when the channel link button is pressed. When linking is set up in this way, it provides a very rigid user experience, with users often finding they lose the settings they wanted to keep. Our intelligent linking system makes linked editing much more flexible and intuitive for the user, by allowing you to individually select a control on either side of the plugin, which is then mirrored on the opposite side.

If you are not familiar with using a hardware EQ style interface, we recommend watching the video below to see how quickly you can achieve fantastic results in very little time using the Overtone.

System Requirements

Mac

  • OS X 10.7 and later (32 & 64-bit)

Formats:

  • AAX 
  • Audio Units (AU)
  • VST
  • VST3

Windows

  • Windows 7 and later (32 & 64-bit)

Formats:

  • AAX 
  • VST
  • VST3

53. Percolate

by SoundSpot

Percolate

Many modern music genres rely on groovy and danceable sounding drums and percussion. But because many drum and percussion loops come pre-mixed with different elements combined in a single track, it can be very difficult to make them work in a busy mix. 

We designed Percolate to help you separate and target the snare, hi-hat and percussion parts of such loops, providing you with an easy and fast workflow to create a balanced drum or percussion mix.

Percolate uses analog modelled filters that separate the relevant frequency ranges in a very transparent way, and can be used in combination with our KickBox plug-in to target the whole drum or percussion section in your mix.

Features:

  • Fast and intuitive workflow
  • Analog modeled filters
  • Suited for electronic and acoustic drums and percussion
  • Extremely light on CPU and RAM

System Requirements

Mac

  • OS X 10.7 and later (32 & 64-bit)

Formats:

  • AAX 
  • Audio Units (AU)
  • VST
  • VST3

Windows

  • Windows 7 and later (32 & 64-bit)

Formats:

  • AAX 
  • VST
  • VST3

54. proximity:EQ+

by sonible

proximity:EQ+

The Proximity Module of frei:raum.

Meet the EQ plug-in that effortlessly edits the proximity of your audio sources. Whether it’s music or speech – the proximity:EQ+ gets you closer to premium sound.

It’s a rare occasion when you actually manage to put on tape the perfect mix you’ve had spinning around in your head. We’ve all been there: you’re entering postproduction with high hopes, only to realize that the sound of your first few seconds of recording takes you right back to your old rehearsal room in the basement. It’s to fix this problem that we developed the proximity:EQ+.

Thanks to its adjustable settings for direct sound and reverberation, this plug-in lets you retrospectively shape the room’s acoustics, any way you can imagine. This intuitive tool lets you turn fuzzy recordings into crisp statements, diplomatically put an overambitious singer in the back, or give that muffled bass the kick it needs.

Features

Control your room acoustics:

Get Closer to the Source: When you’re out doing interviews to record valuable content, the acoustics can be merciless. Didn’t manage to get the mic close enough to your interviewee’s mouth? The proximity:EQ+ lets you pull the voice closer to the listener. By amplifying direct sound, you can put emphasis on the voice, making it much clearer. This neat little procedure also comes in handy when a piano recording sounds fuzzy. By reducing the room acoustic particles, the individual sound pieces fall perfectly into place to create a clean sound pattern.

Create More Room: Alternatively, you may have gotten your mic too close to your sound source. This phenomenon occurs quite frequently when we’re sitting in the studio post-producing choir recordings. Luckily, the sophisticated proximity:EQ+ provides the room the polyphony it requires. At the push of a button, it increases the natural room acoustic particles, making the individual voices harmonic in the bigger orchestral body. Amplifying the reverberation can also create a nice ambience effect, which you can easily use for movie postproduction. With the proximity:EQ+, you can acoustically fade out a scene, or even simulate tracking shots – simply amplify the reverberations, and you’re doing tricks fit for Hollywood.

Ideal Room Acoustics at One Click: Even when you have the microphones meticulously planned out and perfectly positioned, you can hardly change the room’s acoustics. However, with the technical refinements of the proximity:EQ+, you can remove spatial hurdles with the click of a mouse, even when bad acoustics are jeopardizing the set. The plug-in instantly separates direct sound from the echo, and makes it easy for you to improve your audio tracks.

 

Who is Using proximity:EQ+?

Mixing Engineers

proximity:EQ+ is the perfect tool when it comes to complex or time critical mixing tasks. The highly specialized signal processing of proximity:EQ+allows mixing engineers to easily match the spaciousness of individual tracks in projects of any size.

Sound Designers

From subtle modifications of natural sounds to the excessive reshaping of complex audio material – proximity:EQ+ is a great creative tool for designing sounds or customizing soundscapes for movies or games

System Requirements

MAC:

  • OS X 10.7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – AU, VST2 (Universal Binary), AAX
  • iLok License Manager

PC:

  • Windows 7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – VST2 (32/64 bit), VST3, AAX
  • iLok License Manager

Important Note: In order to activate your product, you must have the soft iLok License Manager installed on your computer. You DO NOT need an iLok account or a physical iLok USB Dongle.


55. Helper Equalizer

by W.A Production

Helper Equalizer

Helper Equalizer is a unique and versatile equalizer plug-in that contains special features with excellent workflow and a simple-to-use user interface. Unlike any other equalizer plug-in, you’ll get to play with 5 different EQ shapes to shape your sound better.

You have only 3 knobs to play with in this plug-in but do not be fooled by its simplicity. With the frequency knob, you can determine which frequency to be affected by the equalizer itself. With the gain knob, the volume of the sound can be increased or decreased to bring out the muddiness or to give some air to the sound. With the quality knob, you can adjust the filter slope to effectively equalize your sound. Although the gain knob and quality knob are not available in certain filter modules, they are still vital to proper audio equalizing.

You can also choose to effect different types of audio signal from the audio source – Stereo, Mid, Side, Left & Right. Imagine what all this unique feature offers you.

With the input and output gain control, proper gain staging can be done before and after the saturation process.

Features

  • Intuitive User Interface
  • 5 different EQ shapes
  • 5 different channel modes

System Requirements

Mac

  • Mac OSX 10.7 and later (32 & 64-bit) 

Formats:

  • Audio Units (AU)
  • VST
  • VST3

Windows

  • Windows 7 and later (32 & 64-bit) 

Formats:

  • VST
  • VST3

56. sonible frei:raum EQ

by sonible

sonible frei:raum EQ

This EQ plug-in for audio editing balances spaciousness and makes the postproduction of music and speech creative again.

As technicians and acousticians with an affinity for sound, we’ve long dreamed of entering a new dimension of EQing – a dimension that goes beyond today’s equalizing, one that leads to fun sessions in postproduction. With our totally innovative plug-in, that dimension is finally here. Producers can look forward to the company of a new muse: the 3in1 audio plug-in called frei:raum.

When you open the user interface of the 7-band and linear-phase EQ, familiar arrangements guide you into an intuitive working mode. Behind the user-friendly interface, there’s a cleverly devised algorithm that works on three levels each focusing on a different segment of editing. On these levels, new doors open to a space that provides you with completely new possibilities in terms of spectral balance, sound depth, and tonality.

Entropy Layer

Who hasn’t experienced the most common issue with original sound? Sometimes it’s too slurred, sometimes too harsh. We used to struggle to adapt the harmonic to the noisy sound portions, trying in vain to create the perfect sound character. The entropy:EQ simplifies the postproduction of impact noise as you know it, whether from drum beats, guitars, or other plucked instruments. Even the intelligibility of voice can be effortlessly improved, by enhancing not the harmonic, but the noisy components of the sound. This reminds listeners of a zoom-effect by which the speaker gets acoustically ‘closer’.

Proximity Layer

On the second level, you’ll find a tool that solves problems caused during recording, like, for example, microphone settings. We all know that panicky feeling – at the end of postproduction – when the sound still reminds us of a warehouse or a basement rehearsal room. This usually happens when the interviewer doesn’t get the mic close enough to their conversational partner’s mouth, resulting in that slurred sound on the tape. Maybe you recorded the tracks in an acoustically imperfect room, or the distance from the choir or instrument to the recording mic was less than ideal. In exactly these situations, the proximity:EQ lets you get back the sound you wished for. Thanks to the separation of direct reverb and echo, you can make stepless adjustments.

Smart Layer

The smart:EQ owes its name to a special gift: its ability to learn. It recognizes disturbing resonances and phase cancellation, then offers you immediate, fully automatic solutions to improve single tracks or mixes. This lets you whip your audio material into shape, all within a few seconds. Owing to the complex filter forms, you can also quickly generate high-quality results in classic mixing and broadcasting. Last but not least, the smart:EQ is always the perfect choice when you want to present perfect video sound.

Who is Using entropy:EQ+?

Mixing Engineers

frei:raum is the perfect tool when it comes to complex or time critical mixing tasks. The highly specialized signal processing of frei:raum allows mixing engineers to easily improve the spectral balance of a whole mix or match the spaciousness of individual tracks in projects of any size.

Mastering Engineers

frei:raum’s unique smart filters offer very precise and detailed filter curves for delicate mastering tasks. The filtering structures have been designed to preserve the naturalness of processed recordings and offer a warm, transparent sound.

Features

  • One plug-in, three revolutionary tools
  • entropy:EQ+
  • smart:EQ+
  • proximity:EQ+

System Requirements

MAC:

  • OS X 10.7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – AU, VST2 (Universal Binary), AAX
  • iLok License Manager

PC:

  • Windows 7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – VST2 (32/64 bit), VST3, AAX
  • iLok License Manager

Important Note: In order to activate your product, you must have the soft iLok License Manager installed on your computer. You DO NOT need an iLok account or a physical iLok USB Dongle.


57. Pro EQ

by Minimal System Group

Pro EQ

Important Note: This product is only compatible with Windows operating systems.

The Pro EQ is a high end analogue processor designed for the most demanding producers and mastering engineers. Modelled on gorgeous EQ’s from the likes of SSL and Neve the Pro EQ is now used in a large number of high end studios

Features:

  • Analogue Modelled EQ Processor
  • LF/LMF/HMF/HF
  • High and Low Pass Filters
  • 29 Presets for all kinds of instruments and scenarios
  • Professional GUI Design
  • Very low CPU usage

System Requirements

  • PC running a Windows operating system. VST compatible DAW or VST hosting software.
  • This plugin is 32bit but can be run on 64bit systems using jBridge.
  • This plugin also operates within the 64bit versions of Cubase, Nuendo, Bitwig Studio, Reaper, Tracktion, Renoise, FL Studio, Sonar, Mixcraft and Samplitude using their inbuilt bridging.
  • It is recommended that you always try out the demo before purchases to ensure that the plugin is compatible with your system.

Host Compatibility

  • Minimal System Group Plugins run on Windows based PC’s using a suitable VST host or DAW. Our plugins have been fully tested within Ableton Live, Adobe Audition, Cakewalk Sonar, FL Studio, Energy XT, Presonus Studio One, Renoise, and Cubase.

Please Note: This plugin is 32bit but can be run on 64bit systems using jBridge.


58. SplineEQ

by Photosounder

SplineEQ

SplineEQ is a linear phase equalizer plugin. Designed to be simple and flexible, SplineEQ allows you to create filters using Bézier splines, the best known way to design curves.

Features

  • Linear phase equalizer. Offers a better sound quality than the more common minimum phase equalizers by not affecting the phase of sound, only the intensity of frequencies, which makes it easier to achieve good sounding results. Also has the advantage of not incurring aliasing artifacts.
  • Spline-based filter design. Filters are simply created by designing a spline curve which can be made to adopt any imaginable shape. No filter types to choose from, all points simply define part of the shape of the filter’s spline curve. The actual filter’s frequency profile is displayed as a dashed curve when it differs from the ideal spline curve (this can be changed by changing the filter’s resolution).
  • Up to 60 bands (only up to 4 in the free version of SplineEQ) or as low as 1. You can create or disable bands by double clicking on the visualisation area of the interface and adjust them either in that area or using the knobs or even the automatable parameter sliders in the host’s interface.
  • Simple curve modification functions. You can modify the curve as a whole using the transpose function to shift the curve up and down by up to 10 octaves, affect the overall gain to shift all gain settings up or down evenly or even change the gain scale to apply a ratio to all gains, thus enabling you to either flatten, exaggerate or reverse the shape of a curve.
  • Frequency analyser. More intuitive than your usual logarithmic curve frequency display, this frequency analyser shows you the intensity of frequencies before and after the filtering with colours. It’s also fine tuned so that intensities at different frequencies are represented in a way that matches closely to our perception. It moves in a fluid manner in sync with the source sound and has a frequency resolution of about 10 Hz.
  • Smooth and fluid graphics. The whole interface responds fluidly to change, even the frequency visualisation has a great frame rate and all the graphics are perfectly anti-aliased.
  • -Infinite dB to +60 dB gain range. This allows you to completely silence entire ranges of the spectrum or to really bring back some fainter harmonics by boosting their amplitude thousandfold. Gains are represented logarithmically between -60 dB and +60 dB and linearly below -60 dB. Given the uniquely immense gain range there’s also a built-in limiter whose knob lights up when over the adjustable threshold. You can also zoom in to as low as ±3 dB.
  • Smooth transitions. Changing parameters, either by adjusting the knobs, the graph or by parameter automation is always done smoothly and creates no audio artifacts.
  • Adjustable resolution, latency and CPU usage. The resolution of the filter can be lowered or increased (up to roughly 22 Hz) and the processing latency can be changed to obtain a lower CPU usage or a lower latency.
  • Good performance. Linear phase equalizers always require more power than other types of equalizers. However SplineEQ is as fast or faster than other linear phase equalizers, often with less latency.
  • Presets are available here and can be saved or open (not with the free version of SplineEQ). Their format is compatible across all platforms and hosts and can be edited with a text editor.
  • Also supports all sampling rates (384 kHz included), is available on both Windows and Mac, in VST (2.4) and AU format, in 32 and 64 bits. All input, output and processing are done in 64-bit floating point format and in stereo.

System Requirements

Windows

  • VST 2.4 (32/64bits)

Mac

  • VST 2.4 (32/64bits)
  • Audio Unit

59. Analogue Collection

by Minimal System Group

Analogue Collection

Important Note: This product is only compatible with Windows operating systems.

Minimal System Group is pleased to introduce the new Analogue Mixing and Mastering Collection. Comprising of a comprehensive analogue modelled channel strip and 8 band EQ this collection contains two powerful tools that can be used on your channel and master busses to aid you with both mixing and mastering.

Features:

  • Two plugins included – Analogue Channel Strip and Analogue EQ
  • Channel Strip comprises of an 8 band customisable EQ, Buss Compressor, Limiter, and Master section
  • Analogue EQ is an 8 band customisable EQ with Master section
  • EQ frequency range – 20hz to 20,000hz on each band
  • Each EQ band has +/-40dB of gain
  • Buss Compressor designed to ‘Glue’ track groups together. Can also be used effectively to ‘Glue’ the final mixdown
  • Signal flow of the Analogue Channel is as follows: EQ > Compressor > Limiter
  • Monitoring meters on both plugins showing input, output, and compression gain reduction
  • Analogue channel is perfect for buss channels or the master channel and can be used effectively for both mixing and mastering
  • Modelled on analogue hardware
  • Professional GUI design
  • Low CPU usage

System Requirements

  • PC running a Windows operating system. VST compatible DAW or VST hosting software.
  • This plugin is 32bit but can be run on 64bit systems using jBridge.
  • This plugin also operates within the 64bit versions of Cubase, Nuendo, Bitwig Studio, Reaper, Tracktion, Renoise, FL Studio, Sonar, Mixcraft and Samplitude using their inbuilt bridging.
  • It is recommended that you always try out the demo before purchases to ensure that the plugin is compatible with your system.

Host Compatibility

  • Minimal System Group Plugins run on Windows based PC’s using a suitable VST host or DAW. Our plugins have been fully tested within Ableton Live, Adobe Audition, Cakewalk Sonar, FL Studio, Energy XT, Presonus Studio One, Renoise, and Cubase

Please note: This plugin is 32bit but can be run on 64bit systems using jBridge


60. Fatmaker

by Singomakers

Fatmaker

Fatmaker is not just a regular equalizer, it’s a multiband saturator mixed with different processing chains for each band and a powerful equalizer created for the best mixing and mastering results!

It works perfectly on Synths, Drums, Basses and Vocals! 

Fatmaker has already been championed by professional Sound Engineers and A-list Producers from all over the world. We are sure you will enjoy it too!

Features

Custom-made Hi-End filters with different saturation types for each band:

  • LF
  • LMF
  • HMF
  • HF
  • LP & HP filters

System Requirements

Mac:

  • macOS 10.7+

Formats:

  • AU
  • VST 32-bit
  • VST 64-bit

Please Note: If you have updated to Mac OS Sierra, a reboot is needed in order for Fatmaker to work properly.

Windows:

  • Windows 7+

Formats:

  • VST 32-bit
  • VST 64-bit

61. entropy:EQ+

by sonible

entropy:EQ+

The Entropy Module of frei:raum.

The new dimension of EQing simplifies the postproduction of the harmonic and inharmonic sound components of audio recordings – seamlessly and extremely fast.

The entropy:EQ+ is a plug-in that allows for both harmonic and inharmonic sound portions to be adjusted over the entire frequency range. Take this well-known feeling, for example: you’ve already run out of patience, but the snare triggers are still too muffled, while the guitar plucking sounds are way too dominant. It’s situations like this that have encouraged us to seek new ways of EQing and thus put an end to spending countless hours of studio time on postproduction. The entropy:EQ+ simplifies the editing process for the impact noise of drums, guitars and other plucking instruments, and introduces you to a whole new world of postproduction creativity.

Features

Straighten out your mix:

Enhanced Drumbeat at the Tap of a Finger – The entropy:EQ+ identifies the different frequencies of an audio track and allows you to filter out the individual drums of a drum set or percussion ensemble. This means you can refine that solo on the toms and rim clicks. It catches all of the impact noise – as weak or fierce as it may be. Ultimately, this lets you edit each frequency separately so that you end up with the track of your dreams without the nightmare of frustration

Intelligible in All Language: From that quote for the TV report to the breathy final words of your new song – the entropy:EQ+ makes sure that every single word in your mix is rendered in clear and crystalline sound. To do so, those inharmonic consonants – so important to an optimized level of understanding – must be raised. The plug-in assists you in an easy, straightforward way, and amplifies the noise portions of speech at your command

Rhythmic or Ruining? Sometimes it’s the grove of the string instruments that brings a record to life – whether it’s the plectrum sound of an electric guitar or the rhythmic plucks of a violin string. Other times this impact noise can ruin the harmonic sound of your record. The entropy:EQ+ provides a handy solution in both cases. By either amplifying or silencing exactly those sound portions, you’re sure to get the results you want

Who is Using entropy:EQ+?

Mixing Engineers

entropy:EQ+ is the perfect tool when it comes to complex mixing tasks. The highly specialized signal processing of entropy:EQ+ allows mixing engineers to get a tight drum sound or crispy bass within seconds.

Sound Designers

From subtle modifications of natural sounds to the excessive reshaping of complex audio material – entropy:EQ+ is a great creative tool for designing sounds or customizing soundscapes for movies or games.

System Requirements

MAC:

  • OS X 10.7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – AU, VST2 (Universal Binary), AAX
  • iLok License Manager

PC:

  • Windows 7+
  • RAM – at least 4 GB (recommended)
  • CPU – at least intel DualCore i5 (recommended)
  • Plug-in formats – VST2 (32/64 bit), VST3, AAX
  • iLok License Manager

Important Note: In order to activate your product, you must have the soft iLok License Manager installed on your computer. You DO NOT need an iLok account or a physical iLok USB Dongle.


62. Pro Series EQ

by Positive Grid

Pro Series EQ

Pro Series Plug-Ins

Over the past decade, professional effects plug-ins have been about authentic analog emulation of original hardware, with either a black-box approach or circuit analysis and emulation. This gives musicians an easy-to-use user interface and faithful reproduction of analog tone in the digital domain.

Looking forward, the question is how we can create new tools to maximize the sound quality and usability with today’s new technology, with faster processors and memory, matching analysis, advanced nonlinear processing, and a cloud-based worldwide community. What can we do better, smarter, and more efficient?

Positive Grid teamed up the world’s brightest DSP engineers and component level modeling and matching authorities, working with the world’s leading producers, world-class engineers, and mixing & mastering gurus to develop some breakthrough technologies to bring software plug-ins to the next level.

The Pro Series EQ offers 3 revolutionary component based EQ: Digital, Tube, and Passive. It combines Positive Grid’s DSP engineering and component level modeling expertise.

Matching EQ

After years of research and development with the world’s best DSP engineers, we are proud to introduce a new way of EQ matching, one that truly recreates real world outboard analog equalizers – for the first time at component level. We used analog filters to match the frequency response for each EQ module: digital, tube, and passive EQ.

The EQ match works by analyzing the signal from the input track and side chain track – you can even see the frequency response of the matching process in real time. It then analyzes the difference curve between input and side chain, and automatically adjusts the controls to match the different curves.

The Pro Series EQ match process uses analog filters to match the frequency response difference, without adding post filters to compensate the frequency response difference. The end result is a more natural sound with real world analog sound characteristics.

Tube Equalizer

Loaded with 12AX7, 12AU7 and 12AT7 preamp tubes, the tube EQ captures the essence of analog EQ found in the best professional studios in the world, giving you the ultimate solution to add color and warmth to your recordings. It comes with low, mid, and high control panels so you can get a full frequency range control in one single EQ module.

Digital Equalizer

Provides the most clear and transparent digital EQ sound ever in a plug-in. With 5 bands plus high pass and low filter for each channel, its wide range control will give your mixes the necessary sound balance for professional use. You can also use the digital EQ module to shape your tracks tone without altering the output signal.

Passive Equalizer

With 3 band controls for each channel, the passive EQ module gives an authentic analog sounding EQ shaping for a more musical mix. You can use the available tube power amplifier emulation to add even more color to the output sound, and get that rich tone from real world tube amplifier EQ racks.

Features:

  • 3 individual EQ – Digital, Tube and Passive
  • Matching Technology captures any real world analog EQ nuance
  • Component level modeling, virtually swap out components
  • Extremely high quality audio processing architecture
  • Download more EQ profiles (coming soon) 

System Requirements

Mac

  • OS X 10.9 or later
  • Audio Units, VST, RTAS, AAX Native
  • 4GB of RAM minimal, 8GB or more recommended
  • 400MB free disk space
  • Pro Series plug-in requires A DAW software (Digital Audio Workstation) to host, it doesn’t have a Standalone version at this moment

Windows

  • Windows 7 (SP1) or Windows 8, Windows 10
  • VST, RTAS, AAX Native
  • 4GB of RAM minimal, 8GB or more recommended
  • 1.5GHz Dual core processor minimal, 2.0GHz Dual core or more recommended
  • 250MB free disk space for per version (32 or 64 bits)
  • Pro Series plug-in requires A DAW software (Digital Audio Workstation) to host, it doesn’t have a Standalone version at this moment

Supported Hosts

  • Ableton Live 8.0 or above
  • Avid Pro Tools 10 or above
  • Ardour 3.0 or above
  • Apple Logic Pro 9.0 or above
  • Apple GarageBand 6.0.5, 10.0 or above
  • Bitwig Studio 1.0 and above
  • Cakewalk Sonar X2 or above
  • Cockos Reaper 3.4 or above
  • Harrison Mixbus 2.0 or above
  • Steinberg Cubase 5.0 or above
  • Steinberg Nuendo 4.3 or above
  • MuTools MuLab 6.0 or above
  • PreSonus Studio One Producer/Professional 2 or above

Note: Pro Series plug-in requires A DAW software (Digital Audio Workstation) to host, it doesn’t have a Standalone version at this moment


63. Voxengo PrimeEQ

by Voxengo

Voxengo PrimeEQ

PrimeEQ is a parametric equalizer plug-in for professional music production applications. PrimeEQ was designed to be the first equalizer to reach for when a track or mix equalization is necessary: just insert the plug-in, put and drag the control points to the desired positions.

PrimeEQ implements an extremely optimized user interface. It features an innovative “differential” filter display which shows you how exactly a given selected filter contributes to the overall EQ shape. All control points are placed on the overall EQ shape making the workflow with this equalizer fast and efficient. PrimeEQ is similar to CurveEQ in this respect except that PrimeEQ uses independent parametric filters instead of a continuous EQ curve.

PrimeEQ features deeply customizable spectrum analyzer of the same high quality as found in SPAN, GlissEQ, and other Voxengo plug-ins.

Features

  • Track equalizer
  • Voice streaming equalizer plugin
  • Mastering equalizer
  • Stereo, 5.1 surround equalizer
  • FFT spectrum analyzer
  • Transparent equalizer
  • Extremely optimized workflow
  • New “differential” filter display
  • Real-time spectrum analysis
  • Up to 32 parametric filter bands
  • 13 filter types
  • Narrow-band sweeping
  • User interface window resizing
  • Stereo and multi-channel processing
  • 64-bit floating-point processing
  • Preset manager
  • Undo/redo history
  • All sample rates support
  • Zero processing latency
  • Retina and High DPI support

System Requirements

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.  Plugins with AAX version available can be loaded in ProTools 12+.

Compatibility

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.


64. Picante

by Stagecraft

Picante

EchoThief Inspired

This plugin is a direct collaboration with Dr Chris Warren (aka Superhoax); who is also the genius behind Echothief, the library of impulse responses we use for our modeling reverb of the same name. The plugin is adapted from his Picante MaxForLive patch.

Soft Saturation

Picante works as a tone shaper, graphic EQ, and light distortion. It can be made to add grit or a soft fuzz. The full range EQ gives you precise control even as the limiters introduce a nuanced amount of nonlinearities for tonal depth.

Light, Sweet, Crude

We use a unique combination of limiters and saturation to obtain a light push overdrive that is perfect for bring out the grit in horns and vocals, or used more aggressively it can be used to push a tone to be hard but not heavily distorted.

Q Power

The inclusion of variable Q gives another dimension of control as you can push the sounds resonance toward ringing. This lets you use this plugin as an effect for otherworldly sounds, shaping a saxophone into a thick tinny sound and then morphing into a ringing percussive blast.

System Requirements

 Mac

  • Mac OSX 10.7+
  • 32/64
  • VST
  • AU
  • AAX
  • VST3

PC

  • Win 7+
  • 64 bit only
  • VST
  • VST3

65. RP-EQ

by Rob Papen

RP-EQ

In the virtual music world there are a countless number of different EQ’s available…so why another one?

Well, Rob Papen is all about sound and he was convinced he could add something special to the EQ plugins.

When you first open RP-EQ in your DAW software  you will see that it is far from a basic bread-and-butter equalizer. Unique elements were added to the core equalizer unit.

The toolbox includes a Mid/Side equalizer mode and Mono/Stereo split filter which is used frequently in modern EDM/Dance music styles. The Air section is fantastic on your master channel and the proven X/Y Pad adds a dynamic and creative edge to an already very musical RP-EQ.

In true Rob Papen style, RP–EQ comes with many great presets to get you started  and with the ‘sound’ of RP-EQ you will have a great go to plug-in for your  top notch music productions!

Features​

Presets & Banks

  • Several banks with presets, selectable in the upper screen section

Current Presets A /B

  • A Preset in RP-EQ has two slots, A and B, to store two variations of the Preset. The A and B variations are useful to compare different versions while you are editing. The current, live, settings can be recalled at any time via the Current button

Volume

  • Volume control with in the uppers section the ‘on/off’ option for ‘volume correction’ if volume goes over 0dB.
  • Bypass button to hear the difference between the ‘original’ signal and ‘RP-EQ’ signal.

Spectogram

  • The RP-EQ spectrogram displays the input and output signal as an FFT Spectrogram, a 30 band (1/3 octave) Bar Spectrogram or a 30 band (1/3 octave) Single line Spectrogram. The icons on the left hand side of the Spectrogram display switch the display mode between FFT Spectrogram, Bar Spectrogram and the Single Line Spectrogram.
  • Controls for ‘Hold’ and ‘Release’ of the peak lines in Bar mode. Control of ‘Release’ in the Single Line mode.
  • Display mode of: Left, Right, Stereo or Mid/Side
  • Additional ‘gain’ boost control.

EQ

  • 8 band EQ which can work in normal mode or Mid/Side mode.
  • In Mid/Side mode, the Bands 1-4 are for the ‘Mid’ signal and Bands 5-8 for the ‘Side’ signal.
  • Graphic control panel and lower control panel with additional setting options for view , solo or lock a single band.

Saturation

  • The Saturation section applies a warming effect to the sound, based on the effect of saturated analogue tape recordings.

AIR

  • The Air section represents an additional EQ band, which works as a booster of very high frequencies with a wide bandwidth.
  • Its effect is perceived as giving the audio a bit more breathing space or Air.

Filter

  • A typical application of this filter section is to use the HP filter with a setting of 75 Hz to filter out any rumble or otherwise uncontrolled low-end material. The slope of the filters is selectable between 12 dB and 24 dB per octave and each filter comes in two filter types.
  • A LP filter is a classic ingredient of any synthesizer set-up and we have added one in RP-EQ to enhance the creative application of equalisation. In combination with the XY pad, the Filter section is the place to start for dynamic and rhythmic filter effects.

Stereo/Mono Split Filter

  • The Mono / Stereo Split Filter is able to divide the audio signal in a mono and stereo part based on a frequency. Typically, low frequencies do not contain much spatial informationand are perceived as mono signals. Spatial placement in a stereo image is provided by the higher frequencies. The Split Filter is a great tool for contemporary music in a mix-bus configuration or for mastering.
  • The signal post the Split Filter consists of two parts that can be processed separately: a lower frequency mono component and a higher frequency stereo component.

XY section

  • The XY Screen works as two programmable LFOs. Movement in each direction directly controls the value of one or more RP-EQ parameters.
  • XY basics – Live / Record / Replay
  • In Live mode you move the blue dot manually across the XY pad (use the mouse to click and drag). The position of the mouse and your dragging skills determine the X and Y value. You can also record movements on the XY pad as paths. Switch XY to Rec mod and draw a path. For as long as you keep the mouse button pressed, RP–EQ will capture all movements as a path in its memory. After recording, the path is ready for playback. Switch to Replay mode, and play a note.
  • You will see the XY indicator move across the screen according to previously recorded path. The path is saved as part of the Preset, and is ready to go when you recall the Preset.
  • Instead of playing a note to trigger the path playback, the path can also be made to run freely, or triggered manually by clicking the button adjacent to the mode Switch.

System Requirements

PC

  • Windows 7/ Windows 8/ Windows 10 (32 & 64 bits)

Formats:

  • VST
  • AAX (Note: PC AAX for PT 12 or higher)

Mac

  • OS-X 10.9 – 10.15 (64 bits only)

Formats:

  • AU
  • VST
  • AAX

Notes:

  • Serial/licence system with activation whilst registering the product
  • 2nd serial for a secondary computer/laptop is available after you have registered the product’s original serial/license.

66. EVE-AT4

by Kuassa

EVE-AT4

The EVE-AT4 is an equalizer modelled after the classic Neve* 1084. Add oomph, remove muddiness, give vocals a husky treatment, increase presence, remove rumble, and add character to any tracks, or a mix just before final mastering.

The Kuassa EVE-AT4 is an EQ inspired by the design of the legendary Neve* 1084 that is known for its clear, smooth, and very musical characteristics. We are thrilled by the sound and present this EQ as a modern tribute to one of the most influential audio tools ever created.

EVE-AT4 is a 3-band equalizer with an additional high-pass and low-pass filter. Designed as a tribute to the EQ section of the Neve* 1084, which was created as the successor to the legendary Neve* 1073. Although the EVE-AT4 possesses fewer bands, a smaller frequency selection palette, and less Q bandwidth selection options as compared to the EVE-AT1, its strength lies in its unique filter implementation, producing an idiosyncratic frequency response not present on the EVE-AT1. The result is a particular tonal character; the sound and tonal shape of its original incarnation is a hallmark of many classic recordings from the 70s.

The AT1 was designed with simplicity and clarity in mind, allowing for straightforward usage and immediate productivity. The EVE-AT4 is a strong ‘character’ equalizer.

Features

  • Approximately +/-18dB (Narrow Q), and +/-12 dB (Broad Q)
  • Selectable broad/narrow Q bandwidth
  • Selectable shelf/peak filter mode
  • HP & LP, -18 dB/octave
  • A/B compare button, A/B copy button
  • Output trim, Phase Reverse Button

System Requirements

  • Windows XP, Vista, 7, or Later (32/64-bit)
  • Mac OS 10.5 or later (32/64-bit)
  • VST, VST3, Audio Units or AAX compatible Host Software

Note: This product is a plugin and a VST/VST3/AU/AAX compatible host/sequencer is needed to run this software.


67. Voxengo HarmoniEQ

by Voxengo

Voxengo HarmoniEQ

HarmoniEQ is a parametric, harmonically-enhanced equalizer plug-in for professional music production applications.  Harmonic enhancement HarmoniEQ applies to the sound is an inherent element of its overall sonic quality.  HarmoniEQ also features dynamic equalization modes that offer you a vast palette of sound-shaping capabilities, suitable for mastering.

Since the easiness of tuning was one of our goals when producing this plug-in, HarmoniEQ features a single control surface to control the equalizer curve.  HarmoniEQ’s control surface workflow implements our best findings in the area of “user-equalizer” interaction.  Just drag the filter control points to the right places.  You can enable up to 7 parametric filters, with the filter type freely-selectable from peaking, low-shelf, high-shelf, low-pass, high-pass and notch filter types.

Another useful element of HarmoniEQ is its control surface’s frequency range which goes up to 38 kHz.  Such extended range allows you to make smooth “air” boosts easily.  While HarmoniEQ is best suited for EQ boosts, its EQ cuts also sound great.

Applications

  • Mastering equalizer
  • Stereo, mid-side, 5.1 equalizer
  • Dynamic equalizer
  • Spectrum analyzer
  • Harmonic enhancer

Features

  • Harmonically-enhanced equalizer
  • 7 parametric filter bands
  • Internal channel routing
  • Up to 8x oversampling
  • Undo/redo history
  • All sample rates support
  • Dynamic equalizing
  • Narrow-band sweeping
  • Channel grouping
  • 64-bit floating point processing
  • A/B comparisons
  • 11 ms compensated processing latency
  • Real-time spectrum analysis
  • Stereo and multi-channel processing
  • Mid/side processing
  • Preset manager

System Requirements

  • This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.  Plugins with AAX version available can be loaded in ProTools 12+.
  • This plugin is compatible with Windows (32- and 64-bit Windows XP, Vista, 7, 8, 10 and later versions) and macOS (10.7 and later versions, 64-bit Intel processor-based) computers (2.5 GHz dual-core or faster processor with at least 4 GB of system RAM, SSE4.2 instructions support required, e.g. any Intel Core i-, AMD Bulldozer- or Zen-based processor).  A separate binary distribution file is available for each target computer platform and audio plugin specification.
  • Compatible Windows and macOS plugin software: Cubase, Logic Pro, ProTools, Ableton Live, Reaper, Presonus Studio One, FL Studio, Cakewalk, Nuendo, WaveLab, GarageBand, Vegas, SoundForge, Audition, Samplitude, Digital Performer, Mixcraft, Bitwig Studio, Edius, others.
  • If you cannot get plugin to work on macOS High Sierra/Mojave, you have to logout from the system and login again, it’s a known issue not caused by plugin’s own bug.

68. +10db Equaliser

by Boz Digital Labs

+10db Equaliser

+10db Equaliser is meticulously modelled after the EQ section of a very highly sought after hardware channel strip.

+10db Equaliser takes the EQ section from our +10db Channel strip plugin and puts it in a dedicated plugin. This plugin faithfully recreates the curves and subtleties of this hardware equaliser unit.

What is so special about this EQ?

This EQ takes a different approach to equalization than your standard digital EQ. Instead of the standard series configuration, this EQ uses a parallel configuration, which makes for some very interesting effects, especially for bands that are close together. You will notice that you can use more extreme boost and cut settings without going into that harsh realm.

And of course, in order to preserve the spectral integrity of analog filters, we do not do any of the digital pre-warping tricks. Instead, each filter has a nice symmetric frequency response all the way up to Nyquist frequency, giving it a much more natural and musical response in the high frequencies.

The layout of this EQ makes you work with a different part of your brain than the standard parametric EQ. Don’t get us wrong, we love parametric EQs too, but working with this EQ definitely opens up the creative side of our brain, which can open up entirely new creative possibilities.

System Requirements

Available Formats

  • Windows (32/64): VST2, VST3, RTAS, AAX Native
  • Mac (32/64): AU, VST2, VST3, RTAS, AAX Native

69. Crystal EQ

by Singomakers

Crystal EQ

Following up the release of their powerful saturation EQ Fatmaker, Singomakers are back with a brand-new precision equalizer, Crystal EQ. Designed for creating clean and bright mixes & masters, the Crystal EQ is a one-stop EQ for cleaning up your drums, vocals and instruments to get them sitting perfectly in the mix.

Vintage Vibe with Modern Precision

Crystal EQ features four adjustable frequency bands for precise equalization, as well as a high-pass and low-pass filter for additional EQ control. Add low end punch to your drums, top end clarity to your vocals or create complex automated filter FX in just a few quick sweeps.

The vintage interface of Crystal EQ gives that classic feel of a vintage outboard EQ, whilst delivering the precision and control of the digital domain, making it a delicate and precise tool for mixing and mastering.

Versatile & Full of Character

Crystal EQ is designed to instantly deliver clean and transparent EQ to your tracks, featuring simplicity and versatility that makes it the perfect choice for all the common elements in your mix. Crystal EQ is split into the following bands:

  • High-Pass Filter
  • Low Frequencies
  • Low-Mid Frequencies
  • High-Mid Frequencies
  • High Frequencies
  • Low-Pass Filter

Crystal EQ also comes with a collection of both live and electronic instrument presets – choose from the expertly crafted selections to get your bass, piano, synths, guitars & drums sounding crystal clear and full of life.

Features

  • Clean & transparent EQ processing
  • Four fully adjustable frequency bands
  • High-pass and low-pass filter
  • Full selection of instrument presets

System Requirements

Windows

  • VST 2 & VST 3
  • 32 and 64 bit

Mac

  • VST 2, VST 3, AU
  • 32 and 64 bit

70. The Hoser

by Boz Digital Labs

The Hoser

The Hoser is the little brother to The Hoser XT. Same algorithm in a compact stereo/mono only format.

The second in the series of David Bendeth signature plugins. Modelled off of a vintage Canadian hardware EQ unit, The Hoser makes a great channel channel EQ to give that cohesive feel to your mixes.

The Hoser takes advantage of some of the benefits of working in the digital domain, all while staying true to the analog sound. It is really the best of both worlds.

Analog Sound – CPU Friendly

When we built The Hoser, we had two objectives:

  • It must sound just like the hardware
  • You should be able to use this plugin on every track without worrying about your CPU overheating.

After much trial and error, we finally accomplished this. The plugin stays true to the analog sound, allowing you to add extreme amounts of gain without adding the harshness of digital EQ. It does all this while using small amounts of processing power, to preserve your CPU for other plugins. It’s really the best of both worlds.

System Requirements

Available Formats

  • Windows (32/64): VST2, VST3, RTAS, AAX Native
  • Mac (32/64): AU, VST2, VST3, RTAS, AAX Native

71. AE600 Active EQ HD

by McDSP

AE600 Active EQ HD

The AE600 is the next generation of active equalization. New and unique EQ modes, independent control of fixed and active EQ bands, and an ultra low latency algorithm make the AE600 the perfect solution for any audio production.

Every fixed and active band in the AE600 has its own gain, frequency, Q, and mode controls. EQ mode options include parametric, proportional Q parametric, 5x Q parametric, Baxandall shelving EQ, vintage styled EQ, X-style shelving EQ, Baxandall shelving EQ plus filtering, and high and low pass filtering. All bands are completely overlapping and can use the input signal or selected side chain inputs to trigger the active EQ response. The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot.

The AE600’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE600 (and AE400) active equalizers by McDSP.

Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE600.

Features

  • Six fully overlapping fixed and active EQ bands
  • Independent control over all fixed and active EQ parameters per band
  • Selectable EQ mode per fixed and active bands
  • Unique active EQ ratio response control
  • Side chain support
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

System Requirements

Mac:
  • OSX 10.8 or higher (64-bit only)
Windows:
  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


72. AE400 Active EQ HD

by McDSP

AE400 Active EQ HD

The AE400 is an advanced active equalizer suitable for music production, post-production, and live sound.

The AE400 is made up of 4 bands of fixed and active equalization. Each band is completely overlapping with all other bands and has its own Q (bandwidth), fixed gain, and active gain controls. A key filter for each band allows the active gain response to be as selective or broad as needed, based on the Q (bandwidth) control. Each band can use the input signal or selected side chain signal to trigger the active EQ response.

The active EQ bands can be controlled via the response plot itself, or from the text readouts above and below the response plot. The AE400’s active EQ response is determined by each band’s threshold, attack and release settings. Additionally, a ratio control determines input signal level sensitivity to further articulate how the active EQ will reach maximum active equalization – a feature unique to the AE400.

Peak signal text readouts for each active EQ band’s key signal allow quick setup of each band’s active EQ threshold, and are located underneath band dynamics plots. Input and Output controls, individual band bypass, band control linking, and band key signal monitoring round out the features of the AE400.

Features

  • Four fully overlapping fixed and active EQ bands
  • Independent control over all active EQ parameters per band
  • Unique active EQ ratio response control
  • Sidechain support
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher, or Pro Tools 12.x or higher
  • S6L versions require VENUE OS 5.3.2 or higher
  • AU versions recommended for Logic X or higher
  • VST version recommended for Cubase 7.x, 8.x, 9.x, and 10.x, and Nuendo 6.5 or higher
  • McDSP plug-ins require a v6 license (or Demo) on an iLok2, iLok3, or iLok cloud to authorize. Latest iLok drivers are recommended.  Cloud support requires v6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


73. Voxengo BMS

by Voxengo

Voxengo BMS

BMS is a bass management system plug-in for professional surround sound applications.  BMS is able to extract and manipulate low-frequency content of non-LFE channels in up to 7.1 surround configurations.

The main purpose of BMS is to simplify evaluation of low-frequency content present in non-LFE channels during mastering.  At the same time, it is possible to mix extracted low-frequency content to the LFE (“Low Frequency Effects”) channel.  An option to remove the extracted signal from non-LFE channels is also available.

In BMS you can specify a desired frequency of the crossover filter, and adjust its steepness.

Applications

  • 5.1 bass management
  • 2.1 bass management
  • 7.1 bass management
  • Low-freq monitoring through subwoofer

Features

  • Adjustable crossover frequency
  • 64-bit floating point processing
  • A/B comparisons
  • Zero processing latency
  • Adjustable crossover steepness
  • Preset manager
  • Contextual hint messages
  • Up to 7.1 surround configurations
  • Undo/redo history
  • All sample rates support

System Requirements

This plug-in is compatible with Windows (32- and 64-bit Windows XP, Vista, 7 and later versions) and Mac OS X (10.5 and later versions, 32- and 64-bit, Intel processor-based) computers (2 GHz dual-core or faster processor with at least 1 GB of system RAM required).  A separate binary distribution file is available for each target computer platform for each audio plug-in specification.

Compatibility

This audio plugin can be loaded into any audio host application that conforms to the AudioUnit or VST plugin specification.

RTAS compatibility is available by using the FXpansion VST-RTAS adapter.


74. Oxford EQ – HD/HDX

by Sonnox

Oxford EQ - HD/HDX

A great sounding EQ is essential to any mix. Which EQ to use can vary depending on artistic requirement, but quality and flexibility are both critical at all times. What if there was one Plug-In with four distinct EQ types – from surgical to musical – with a track record of being used to mix the biggest hits, films, and live shows?

Enter our flagship Oxford EQ, a Plug-In that traces its heritage to the original EQ section on the acclaimed Sony OXF-R3 digital console. Hallmark sonic transparency meets a simple and interactive interface – resulting in quick, confident and great sounding mix decisions.

Features

  • 5-band parametric EQ with variable-slope HP/LP filters
  • Four completely different sounding EQ types
  • Clinical EQ similar to the SSL4000 E series 
  • Tighter ‘cut’ for removing problem frequencies
  • Classic EQ similar to Neve and SSL G series curves
  • Wide and gentle curves perfect for mastering 
  • Automatable A/B compare button toggles EQ settings
  • Ultra low noise and distortion

GML Option

An optional 5th EQ type is available for Pro Tools HD and HDX users – an exact emulation of the highly regarded GML-8200 EQ hardware unit.

Originally designed in collaboration with George Massenburg for the OXF-R3 console, the GML Option faithfully reproduces all the control ranges and responses of the classic analogue original – even delivering centre frequencies up to 26KHz to provide a smooth airy top-end to your tracks.

Imagine your Pro Tools HD session loaded with fully endorsed GML-8200 EQ emulations, with that sound, multiple instantiations, recall and complete automation.

System Requirements

Pro Tools

  • Pro Tools 7, 8, 9 & 10, 11
  • Approved Pro Tools CPU, OS and hardware configuration
  • Mac OSX 10.4 or later 1
  • Pro-Codec and Codec Toolbox compatible with Intel Mac only
  • Windows XP / Vista / Windows 7 / Windows 8
  • RAM 1GB minimum
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for AAX plug-ins

Audio Units

  • Audio Units compatible application (Logic, Digital Performer etc)
  • Mac OSX 10.4 or later 1
  • Pro-Codec and Codec Toolbox compatible with Intel Mac only
  • RAM 1GB minimum
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for 64-bit plugins

VST

  • VST compatible application (Cubase, Nuendo, Wavelab, Sequoia etc)
  • Mac OSX 10.4 or later 1
  • Pro-Codec and Codec Toolbox compatible with Intel Mac only
  • Windows XP / Vista / Windows 7 / Windows 8
  • RAM 1GB minimum
  • iLok USB device with latest drivers OR active internet connection required
  • iLok2 / iLok3 OR active internet connection required for 64-bit plugins

Supported Hosts

Mac:

  • Pro Tools 10.3.8 – 12 (AAX Native)
  • Pro Tools 7 – 10 (RTAS)
  • Logic Pro X 10.2
  • Logic 8 & 9
  • Digital Performer
  • Nuendo    
  • Cubase
  • Ableton
  • Studio 1

Windows:

  • Pro Tools 10.3.8 – 12 (AAX Native)
  • Pro Tools 7 – 10 (RTAS)
  • Nuendo
  • Cubase
  • Ableton
  • Samplitude
  • Sequoia
  • Pyramix
  • Studio 1

Please Note: This product now supports iLok Cloud Authorisation. An iLok USB Dongle OR an active internet connection is required in order to activate and use this product.​


75. SEQ-S

by NUGEN Audio

SEQ-S

SEQ-S delivers sculpting power beyond any other EQ. The resizable direct-draw interface makes it easy to quickly fine-tune your audio, with incredible resolution that you can’t get with a traditional parametric interface. The 3 independent EQ curves can be individually assigned to channels across the surround panorama, giving complete control over your spatial environment, with access to stereo, mid/side, 5.1 and 7.1 surround sound operation.

Unparalleled Flexibility

  • Linear phase spline EQ
  • Curve scaling and smoothing
  • Zoomable and resizable interface
  • No phase smearing
  • Dynamic EQ morphs
  • Frequency node locking
  • Psychoacoustic banding
  • Match EQ presets

Fluid EQ Morphing

SEQ-S is capable of fluid filter morphs, introducing a wealth of new options ranging from controlled scene transitions up to groundbreaking creative sound design.

Seamless transitions between different environments, creative morphs and tempo-locked effects are easily achieved, with full dynamic visual feedback.

Intuitive EQ Matching

Use SEQ-S to capture the flavour of a piece of source audio and match it to your current work – great for restoration work, and as a reference for mastering. Or use this match technique on individual tracks to unify different takes, microphone positions, and more.

Plus, by inverting the match EQ curve, you can achieve a minimally invasive technique for carving out space in a complex mix where traditional EQs won’t cut it.

For Music Production

Fine-tune and correct your sound with flexible, detailed envelopes difficult to achieve with a traditional parametric EQ. Plus, take advantage of independent left/right and mid/side operation, even within the same plug-in instance.

Use EQ matching to gently push your sound toward reference material or dive into new creative spheres with filter morphing and tempo locked effects. Ideal for both corrective mix work and gentle mastering polish.

For Post and Broadcast

Precise corrections which would be very time consuming with a traditional parametric interface are a breeze with SEQ-S’s flexible nodes and direct draw interface.

Match ‘invert’ makes it quick and easy to find space for dialogue in a busy soundtrack, avoiding heavy-handed EQ or intrusive ducking.

Typical Applications

  • Independent control of left/right, mid/side & surround channels
  • EQ matching
  • Fluid EQ morphing
  • Creating ‘perfect space’ for vocals or dialogue
  • Surround compatibility up to 7.1 for post & movie production

System Requirements

Mac

  • Mac OSX 10.9 and above
  • 512 MB RAM
  • 64-bit only
  • Available in 64-bit AAX, VST3, AU & AudioSuite Formats

Windows

  • Windows Vista and above
  • 512 MB RAM
  • 64-bit only
  • Available in 64-bit AAX, VST3 & AudioSuite Formats

76. 4020 Retro EQ HD

by McDSP

4020 Retro EQ HD

The 4020 Retro EQ is a four-band EQ and complimentary filter set. The HF and LF bands are shelving EQ, with two additional parametric EQs at the HMF and LMF bands. All EQ bands operate on a unique gain dependent variable slope/Q system for a vintage smooth sound and increased boost/cut frequency selectivity high gains. The HPF and LPF filters use a unique split-octave design giving a 12 dB/Oct slope near the selected frequency, and a maximum slope of 24 dB/Oct.

All Retro plug-ins use a McDSP designed output stage topology to eliminate digital clipping at any output level and produce a smoother distortion characteristic. This feature is in addition to the analog saturation modeling that has made McDSP famous over the last decade.

Retro plug-ins are a line of ‘classics’ that can live up to their own name without emulating something else.

Features

  • Unique original algorithms with transparent yet vintage sound
  • Variable slope filtering
  • Variable Q/slope Shelving and Parametric EQ
  • Anti-Clip Output Stage Topology
  • Analog Saturation Modeling
  • Double Precision Processing
  • Ultra Low Latency
  • Mono and stereo versions

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


77. 6020 Ultimate EQ HD

by McDSP

6020 Ultimate EQ HD

The 6020 Ultimate EQ is a collection of ten equalizer models using the popular module format leveraging McDSP’s 15+ years of design experience.

All 6020 Ultimate EQ modules are designed by McDSP, drawing on inspiration from classic and modern equalizers over the last four decades. Each module is easy to operate, and yet has enough sophistication for the most discerning professional.
Whatever your style, from smooth tube emulations to aggressive solid-state designs, the 6020 Ultimate EQ has a custom-made equalizer module that is just right for you.

Features

  • 10 EQ modules in a single interface
  • Input & output control
  • Analog Saturation modeling
  • Double precision processing
  • Ultra low latency
  • Mono and stereo versions

6020 EQ Modules

E670

The McDSP E670 module has three bands, each with its own continuous gain and frequency controls. The E670, like the original 664 module, is a program equalizer – a gentle set of EQ curves to tweak the tonality of the input signal.

Moo Q

The Moo Q module is a program equalizer like the E670, but derived from all tube designs of the last few decades. Three bands with continuous gain and frequency controls are included, plus some ‘tube accents’ in the output stage of the equalizer.

iQ

The iQ has only two bands – a low shelf EQ and a high shelf EQ. Additional circuitry is included for coloring the sound, even when the all equalizer gains are set to zero. If you are looking for some low end ‘glow’ or high end ‘sheen’, the iQ module is a good choice.

E300/E301

The E300 and E301 modules have the same frequency ranges, with the E301 narrower in bandwidth. Both modules are fairly utilitarian – good for shaping up guitar track tones, bringing out a vocal, or getting the most out of your drum tracks.

British-E

The classic high pass filter, low shelf, parametric, and high shelf combination makes the British-E module useful for many mixing applications.

EZ Q

Using the same filter and equalizer configuration as found in the British-E module – a high pass filter to carve out the rumble, capable low and high shelving EQ, and a fairly flexible parametric EQ, the EZ Q module gets the job done.

EQ’76

The EQ’76 module is meant to be paired with the SST’76 compression module from the 6030 Ultimate Compressor. The EQ’76 has four bands of parametric equalization, each with a slight Q-gain dependency.

FRG EEE

The FRG EEE is a capable equalizer – with the low and high shelving bands performing some amount of cut/boost to offset the boost/cut selected – a clever design technique from many classic equalizers.

E357

The E357 module is three bands of aggressive equalization. The shelving bands have more punch at the low end, and a brighter top end, than any other shelving EQ in the 6020 collection.

System Requirements

Mac:

  • OSX 10.8 or higher (64-bit only)

Windows:

  • Windows 7 or higher (32/64-bit)

Formats:

  • AAX Native
  • AU
  • VST

Platform Requirements:

  • AAX versions require Pro Tools 10.3.8 or higher, or Pro Tools 11.1.3 or higher
  • S6L versions require VENUE OS 5.2 or higher
  • AU versions recommended for Logic X, or higher
  • VST versions recommended for Cubase 7.x, 8.X, or higher, and Nuendo 6.5 or higher

Activation:

Please note: This product can be activated using iLok Cloud OR an iLok USB Dongle.


78. Oxford Dynamic EQ HD/HDX

by Sonnox

Oxford Dynamic EQ HD/HDX

Have you tried to control boomy or harsh frequencies using a traditional static EQ but found you compromised the integrity of the original recording? Then found that writing automation lost you precious time and sounded unnatural? Perhaps you’ve heard that a multiband compressor is the answer but it left you scratching your head?

Then the Oxford Dynamic EQ is the tool you need, providing just the required amount of processing when you need it and takes little time to set up. 5 bands of the ultra-musical Type-3 EQ curve can be overlapped to bring unparalleled control and characteristic Sonnox transparency to your single sources, instrument groups and 2-bus alike.

The Dynamic EQ introduces unique features such as the option to engage the effect by onset (transient) detection – very useful when working with drums and percussion. Additionally, mid-side processing can be used to enhance a vocal without affecting side-channel balance or to open up a mix by focusing low-end energy in the centre.

This highly-tweakable space-carving capabilities of the Dynamic EQ will be a welcome addition to your mixing arsenal.

Features

  • 5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type
  • All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors
  • Each band can process and/or detect from mono, stereo, mid or side channels
  • Flexible per-band internal/external side chain controls
  • A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins
  • Flexible upwards/downwards compression and upwards/downwards expansion
  • Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing

System Requirements

Mac:

  • macOS 10.7 or later
  • iLok USB device with latest drivers OR active internet connection required

Formats:

  • AAX Native and Pro Tools HDX compatible 10.3.8, 11.3.2, 12 – Approved Pro Tools CPU, OS and hardware configuration
  • Audio Units (AU) – Audio Units-compatible application required (Logic, Digital Performer etc)
  • VST2 / VST3 – VST2 or VST3 compatible application (Cubase, Nuendo, Sequoia etc)

Supported Hosts:

  • Pro Tools 10.3.8 and above – AAX DSP(HDX) / AAX Native
  • Logic Pro X 10.2
  • Logic 8 & 9
  • Digital Performer
  • Nuendo
  • Cubase
  • Ableton
  • Studio 1

PC:

  • Windows 7 or later
  • iLok USB device with latest drivers OR active internet connection required

Formats:

  • AAX Native and HDX for Pro Tools 10.3.8, 11.3.2, 12 – Approved Pro Tools CPU, OS and hardware configuration
  • VST2 / VST3 – VST2 or VST3 compatible application (Cubase, Nuendo, Sequoia etc)

Supported Hosts:

  • Pro Tools 10.3.8 and above (AAX Native)
  • Nuendo
  • Cubase
  • Ableton
  • Samplitude
  • Sequoia
  • Pyramix
  • Studio 1

Please Note: This product now supports iLok Cloud Authorisation. An iLok USB Dongle OR an active internet connection is required in order to activate and use this product.


79. SantaCruzEQ12

by MAAT

SantaCruzEQ12

Beautiful analogue architectures, up to twelve, that will ramp up your reputation.

Yes, Your Blueness

Why develop yet one more minimum phase parametric equalizer (PEQ) when there’s already hundreds on the market? The answer is simple…’ Cuz there was room for improvement! It was customers of the original LinearPhase PEQ Red and Orange who asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, our Dr Christoph closely analyzed many of the best out there and compiled a vast knowledgebase of analogue EQ best practices. Cherry-picking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analogue antecedents, while others are based on new ideas. MAAT know you’ll enjoy their dozen variations of blue, and find your favourite sound.

The Not So Dirty Dozen

MAAT wanted to lift analogue to another level, so they reverse-engineered a variety of well-respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analogue baggage, SantaCruzEQ has no noise, distortion or other secondary effects inherited from analogue.

SantaCruzEQ12 is the most complete collection of classic equalizer architectures ever assembled into one package. You get precise, idealized examples of legendary analogue equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, SantaCruzEQ is a sonic sandbox for every mixing and mastering engineer to mess around in.

BFF

The equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies.

For a century, engineers have developed countless equalizers. A few became legend, our thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound. As Spidey (and Voltaire) always reminds us though, “With great power comes great responsibility.” When designed by a clueless or cost-constrained software engineer, it can be your greatest sonic enemy.

Choice Is Good

SantaCruzEQ12, with 12 topologies; all twelve below:

01. Classic Sym Series symmetrical, almost constant Q bell — common mix desk & outboard gear topology, try on “surgical” applications

02. Classic Asym Series asymmetrical — Old Skool, boost like 01 but with narrower cut

03. Proportional 1 Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at <6dB and narrower at >6dB

04. Proportional 2 Series proportional — Like 03 but with bigger changes at large gain settings > ±6dB, try on vocals

05. Proportional 3 Series proportional — Like 03 but with extra-wide bells at small gain settings, from 0 to 3dB

06. Const-Q Asym Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products & mixers

07. Const-Q Asy R Series asymmetrical, constant Q — Like № 6 but with mirrored boost & cut

08. Const-Q Invers Series symmetrical, constant Q — Similar to № 7

09. Const-Q New Series proportional, constant Q — Our special topology…try it!

10. Const-Q Ideal Series ideal & constant Q — Another special, similar to № 1, all three parameters (resonant ƒ, gain & Q) are independent, no analogue relatives!

11. Parallel FF-FB Parallel feed forward/feedback — Complimentary amplitude and phase characteristics for boost & cut (symmetrical), found in high-end graphic EQs, 1st choice for mastering [reference Massenburg]

12. Parallel LC Parallel passive LC — Tonal advantages with band interaction & asymmetry disadvantages, found in old or newly recreated PEQs, another choice for mastering [reference Massive Passive, Sontec]

Constant Q is more for surgical applications, while proportional EQs are best when combining multiple overlapping Sections. As a point of reference, API, Pultec, Masselec and Avalon EQs are all of the proportional type. Note that all 12 topologies are normalized to have exactly the same bell shape at 6dB of boost. This allows you to easily compare the sound of each architecture.

Better By Design

SantaCruzEQ is built on the belief that exceptional fidelity, enhanced workflows and less visual fatigue are hallmarks of better quality toolsets. Our reliance on hard science and focused research balanced by in-depth listening and customer feedback, redefines audio tools for you and your fellow hardcore media professionals worldwide.

Features

  • SantaCruzEQ borrows the innovative code from both Algorithmix’s original PEQ Blue and our own thEQblue remix, wrapping it in a modern, higher fidelity environment designed to help you be more productive.
  • The most complete collection of classic analogue equalizer emulations
  • Twelve different equalizer types; in total, 10 serial & 2 parallel
  • Up to 12 PEQ styles for every job: classic, vintage, modern and unconventional
  • Different Q characteristics: classic, constant–Q, proportional, ideal–Q and special
  • True high-resolution emulation of analogue equalizers, not modelling: no added noise, distortion or other non–linearities
  • Support for up to 384 kHz sample rate, suitable for HRA and game production and post
  • Extended centre frequency up to 80 kHz for filtering and correction in the ultrasonic
  • Bell filters in all PEQ types are normalized to look identically at +6.02 dB of gain and Q of 0.71, ideal for quick comparisons between types
  • Six Sections total, with four having freely assignable parametric filter variants: bell; multi-order high & low shelf; multi-order high & low cut
  • “Outer” Sections, the first and last, offer multi-order high & low shelf and multi-order high & low cut
  • Extremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24-bit quantization noise
  • Adjustable Q Factor for bell filters
  • Adjustable slope for shelving and cut filters
  • Multiple low and high cut filters can be overlapped to achieve brickwall slopes
  • Very low noise and distortion upsampling for analogue–like filters at baseband sample rates
  • Insane 80 bit double precision internals virtually eliminate rounding errors and resulting distortion
  • Resizable and zoomable frequency response graphing for precise adjustments
  • Parameter editing via numerical fields or directly on the Graph
  • Presets for quick setup comparison
  • Several instances, each with different PEQ architectures, can be opened simultaneously
  • Band grouping function lets you simultaneously alter ƒ, Q and gain for multiple Sections
  • ƒ lock function when you’ve found your resonant frequency and want to alter just Q or gain
  • True Peak metering alerts you to TP overs
  • Sort button rearranges Sections in order, from low to high ƒ, with a single click

Applications

  • With a very wide range of choices, you are ready to tackle any job with a subtle or obvious approach.
  • Tracking, mixing & mastering
  • HRA post including ultrasonic tailoring
  • Broadcast production & post
  • Game production
  • Reinforcement: microphone response improvement, speaker deficiencies correction, acoustic compensation
  • Sound design & enhancement
  • Restoration & correction of transmission losses

Iron Maiden

The contribution of distortion to the specific sound of a particular analogue equalizer caused by its respective electronics is largely what makes it “good.” Usually though, non–linear distortion, horrific group delay and other deficiencies produce more “nasty” than “magic.” Our philosophy, for PEQ design, has always been to make filters as precise and clean as possible. For controlled distortion, MAAT recommend high-quality tape emulation, a well-made pedal or other carefully applied studio magic.

Comprehensive

With SantaCruzEQ12, you can call up twelve Sections from one of the twelve architectures available. For the first and last Sections, choose from a selection of shelving or cut filters. For the ten centre Sections, choose from nine freely assignable filter types, including bell, first and second-order low or high shelf along with first and second-order low or high cut.

The most significant filter types bearing the equalizer name are bells. Set to a particular Q, different bells change their bandwidth depending on the amount of boost or cut making comparison difficult between architectures. But wait, MAAT have made it easy…

Comparing Topologies

In order to make meaningful comparisons of different typologies, all twelve equalizer architectures are normalized to have exactly the same bell shape for +6dB of gain. If you listen to a bell filter at +6.02dB and a Q of 0.71, you will get the same audible result for all architecture types. This normalization of the Q or Quality Factor is a unique MAAT feature and distinguishes our typologies from their analogue antecedents because many of the originals have undefined Q definitions due to the limitation of analogue technology. The normalization allows you to compare the different EQ architectures in SantaCruzEQ with ease.

BTW, a single minimal phase bell filter with identical shape will sound the same regardless of architecture. The difference between architecture becomes obvious when you have activated more bells and other topologies so that they start to interact with each other. This will reveal the different characteristics of each architecture, in terms of phase interaction and different gain and Q relationships.

Classics All

The Classic Symmetrical is the most popular bell shape used in many mixers and outboard equalizers. It is almost “constant Q.” That is, as resonant frequency changes, the bandwidth changes, widening as the frequency goes from low to high to maintain a constant ratio of centre frequency divided by bandwidth. Constant Q is roughly the way our hearing perceives an EQ’s effect.

The three Proportional PEQs emulate bell characteristics which change their bandwidth proportional to their boost or cut. Many think they behave more musically as you don’t have to correct the Q after every amplitude change. There are also three other constant–Q equalizers available, with characteristics similar to some classic American brands.

SantaCruzEQ also offers two proprietary constant–Q varieties. The first, Constant-Q Ideal, is a perfect version of the Classic Symmetrical equalizer, having exactly the same bandwidth at any amplitude within its range of Q. This is measured 3 dB below maximum amplitude at and above +6 dB of boost. Such PEQs are impossible to implement in the analogue domain, hence the “ideal” name. Another speciality variety is the Constant-Q New, which follows a new Q definition. It preserves exactly the same bandwidth at the half of the maximum amplitude for all amplitude values. Unlike the classic Q definition, this includes the range below 6 dB of boost. Due to its amplitude/bandwidth dependency in terms of a classic Q definition, this new kind of constant-Q PEQ could also be thought of as a member of the proportional group.

Finally, MAAT emulated two vintage parallel equalizers. With parallel construction, the main input feeds every filter in parallel, with each filter’s output being summed together for the final composite output. With a series implementation, filters are cascaded; each fed from the output of the previous filter. Unlike a series parametric equalizer (almost all parameters are serial), parallel–connected filters combine or cascade differently. They also behave differently in terms of phase. Their special interactive behaviour between bands is offset by a pleasing sonic character. Our Parallel LC emulates old skool parallel passive PEQ circuitry built with inductors and capacitors. The Parallel Feed-Forward/Feedback topology emulates the feed-forward/feed–back designs still popular in low noise analogue graphic EQs. While the feed-forward path is trivial to implement, the feedback path is impossible to implement in traditional digital signal processing, because of the need for so-called “delay–free” feedback loops. In SantaCruzEQ, MAAT apply a unique and very elaborate technique for true emulation of delay-free feedback. The result is a characteristic sound and perfectly complementary filters for boost and cut.

The Filter Library

In SantaCruzEQ, not only are various bell-shaped filters available but also different kinds of shelving filters. Nine of the series equalizers use a special shelving design characterized by a cut–off frequency defined in the middle of the transition region. MAAT found these filter definitions more intuitive than the classical “–3 dB below maximum.” The old skool definition is only used in the Classic Asymmetrical architecture in order to conform to its analogue antecedent. All 2nd order shelving filters have a Q adjustment to emulate vintage characteristics, with their inherent and specific bumps at higher slopes. Also, the parallel equalizers are equipped with respective shelving filters shapes that are typical of old parallel PEQs. They also have interacting bands as did their analogue predecessors.

Every complex PEQ is equipped with cut filters. With SantaCruzEQ, each of the twelve equalizer topologies can provide 1st and 2nd order cuts. The 2nd order filters have a Q adjustment to create a resonant filter response and can be combined to provide very steep “brickwall” slopes by cascading several Sections.

Best of Both Worlds

SantaCruzEQ is a creative equalizer tool combining the best of both the analogue and digital domains. To avoid bell filter asymmetry at high frequencies for baseband sample rates, typical of many digital equalizers, MAAT have applied reference-quality upsampling, which automatically kicks in for 44.1 or 48 kHz. By using proprietary filter algorithms, they have achieved a huge dynamic range, as well as extremely low noise and distortion. This yields unparalleled sonic purity, impossible for any analogue circuitry. MAAT suggest leaving the oversampling option always on so as to get the “analogue” smoothness missing from other brand’s EQs.

Summary

  • Fully parametric minimum phase EQ for complete control
  • 80-bit internal precision blows away the competition for sound quality
  • Up to twelve unique idealized architectures, derived from analogue circuitry
  • Broad choice of cut, shelf and bell topologies
  • AutoGain for effortless A/B comparisons
  • Proprietary oversampling for “analogue” sound at 44.1 and 48k
  • Supports sample rates from 44.1 to 384 kHz

System Requirements

Operating Systems

  • macOS 10.8 and newer (64 bit)
  • Windows 7 and newer, (32 & 64 bit)

Supported Platforms

  • AAX (Pro Tools 10.3.10 and newer)
  • AU
  • VST 2
  • VST 3

80. SantaCruzEQ6

by MAAT

SantaCruzEQ6

Beautiful analogue architectures, up to six, that will ramp up your reputation.

Yes, Your Blueness

Why develop yet one more minimum phase parametric equalizer (PEQ) when there’s already hundreds on the market? The answer is simple…’ Cuz there was room for improvement! It was customers of the original LinearPhase PEQ Red and Orange who asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, Dr Christoph closely analyzed many of the best out there and compiled a vast knowledgebase of analogue EQ best practices. Cherry-picking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analogue antecedents, while others are based on new ideas. You’re sure to enjoy these six variations of blue, newly revised by MAAT, and find your favourite sound.

The Not So Dirty Half-Dozen

MAAT wanted to lift analogue to another level, so they reverse-engineered a variety of well-respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analogue baggage, SantaCruzEQ has no noise, distortion or other secondary effects inherited from analogue.

SantaCruzEQ6 is the most complete collection of classic equalizer architectures ever assembled into one package. You get precise, idealized examples of legendary analogue equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, SantaCruzEQ is a sonic sandbox for every mixing and mastering engineer to mess around in.

BFF

The equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies.

For a century, engineers have developed countless equalizers. A few became legend, MAAT’s thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound. As Spidey (and Voltaire) always reminds us though, “With great power comes great responsibility.” When designed by a clueless or cost-constrained software engineer, it can be your greatest sonic enemy.

Choice Is Good

SantaCruzEQ6, with 6 topologies; all six below:

01. Classic Sym Series symmetrical, almost constant Q bell — common mix desk & outboard gear topology, try on “surgical” applications

02. Classic Asym Series asymmetrical — Old Skool, boost like 01 but with narrower cut

03. Proportional 1 Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at <6dB and narrower at >6dB

04. Proportional 2 Series proportional — Like 03 but with bigger changes at large gain settings > ±6dB, try on vocals

05. Proportional 3 Series proportional — Like 03 but with extra-wide bells at small gain settings, from 0 to 3dB

06. Const-Q Asym Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products & mixers

Constant Q is more for surgical applications, while proportional EQs are best when combining multiple overlapping Sections. As a point of reference, API, Pultec, Masselec and Avalon EQs are all of the proportional type. Note that all 6 topologies are normalized to have exactly the same bell shape at 6dB of boost. This allows you to easily compare the sound of each architecture.

Better By Design

SantaCruzEQ is built on the belief that exceptional fidelity, enhanced workflows and less visual fatigue are hallmarks of better quality toolsets. MAAT’s reliance on hard science and focused research balanced by in-depth listening and customer feedback, redefines audio tools for you and your fellow hardcore media professionals worldwide.

Features

  • SantaCruzEQ borrows the innovative code from both Algorithmix’s original PEQ Blue and MAAT own thEQblue remix, wrapping it in a modern, higher fidelity environment designed to help you be more productive.
  • The most complete collection of classic analogue equalizer emulations
  • Six  different equalizer types; in total, 10 serial & 2 parallel
  • Up to 6 PEQ styles for every job: classic, vintage, modern and unconventional
  • Different Q characteristics: classic, constant–Q, proportional, ideal–Q and special
  • True high-resolution emulation of analogue equalizers, not modelling: no added noise, distortion or other non–linearities
  • Support for up to 384 kHz sample rate, suitable for HRA and game production and post
  • Extended centre frequency up to 80 kHz for filtering and correction in the ultrasonic
  • Bell filters in all PEQ types are normalized to look identically at +6.02 dB of gain and Q of 0.71, ideal for quick comparisons between types
  • Six Sections total, with four having freely assignable parametric filter variants: bell; multi-order high & low shelf; multi-order high & low cut
  • “Outer” Sections, the first and last, offer multi-order high & low shelf and multi-order high & low cut
  • Extremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24-bit quantization noise
  • Adjustable Q Factor for bell filters
  • Adjustable slope for shelving and cut filters
  • Multiple low and high cut filters can be overlapped to achieve brickwall slopes
  • Very low noise and distortion upsampling for analogue–like filters at baseband sample rates
  • Insane 80 bit double precision internals virtually eliminate rounding errors and resulting distortion
  • Resizable and zoomable frequency response graphing for precise adjustments
  • Parameter editing via numerical fields or directly on the Graph
  • Presets for quick setup comparison
  • Several instances, each with different PEQ architectures, can be opened simultaneously
  • Band grouping function lets you simultaneously alter ƒ, Q and gain for multiple Sections
  • ƒ lock function when you’ve found your resonant frequency and want to alter just Q or gain
  • True Peak metering alerts you to TP overs
  • Sort button rearranges Sections in order, from low to high ƒ, with a single click

Applications

  • With a very wide range of choices, you are ready to tackle any job with a subtle or obvious approach.
  • Tracking, mixing & mastering
  • HRA post including ultrasonic tailoring
  • Broadcast production & post
  • Game production
  • Reinforcement: microphone response improvement, speaker deficiencies correction, acoustic compensation
  • Sound design & enhancement
  • Restoration & correction of transmission losses

Iron Maiden

The contribution of distortion to the specific sound of a particular analogue equalizer caused by its respective electronics is largely what makes it “good.” Usually though, non–linear distortion, horrific group delay and other deficiencies produce more “nasty” than “magic.” MAAT’s philosophy, for PEQ design, has always been to make filters as precise and clean as possible. For controlled distortion, MAAT recommend high-quality tape emulation, a well-made pedal or other carefully applied studio magic.

Comprehensive

With SantaCruzEQ6, you can call up six Sections from one of the six architectures available. For the first and last Sections, choose from a selection of shelving or cut filters. For the ten centre Sections, choose from nine freely assignable filter types, including bell, first and second-order low or high shelf along with first and second-order low or high cut.

The most significant filter types bearing the equalizer name are bells. Set to a particular Q, different bells change their bandwidth depending on the amount of boost or cut making comparison difficult between architectures. But wait, MAAT have made it easy…

Comparing Topologies

In order to make meaningful comparisons of different typologies, all six equalizer architectures are normalized to have exactly the same bell shape for +6dB of gain. If you listen to a bell filter at +6.02dB and a Q of 0.71, you will get the same audible result for all architecture types. This normalization of the Q or Quality Factor is a unique MAAT feature and distinguishes MAAT’s typologies from their analogue antecedents because many of the originals have undefined Q definitions due to the limitation of analogue technology. The normalization allows you to compare the different EQ architectures in SantaCruzEQ with ease.

BTW, a single minimal phase bell filter with identical shape will sound the same regardless of architecture. The difference between architecture becomes obvious when you have activated more bells and other topologies so that they start to interact with each other. This will reveal the different characteristics of each architecture, in terms of phase interaction and different gain and Q relationships.

Classics All

The Classic Symmetrical is the most popular bell shape used in many mixers and outboard equalizers. It is almost “constant Q.” That is, as resonant frequency changes, the bandwidth changes, widening as the frequency goes from low to high to maintain a constant ratio of centre frequency divided by bandwidth. Constant Q is roughly the way our hearing perceives an EQ’s effect.

The three Proportional PEQs emulate bell characteristics which change their bandwidth proportional to their boost or cut. Many think they behave more musically as you don’t have to correct the Q after every amplitude change. There are also three other constant–Q equalizers available, with characteristics similar to some classic American brands.

SantaCruzEQ also offers two proprietary constant–Q varieties. The first, Constant-Q Ideal, is a perfect version of the Classic Symmetrical equalizer, having exactly the same bandwidth at any amplitude within its range of Q. This is measured 3 dB below maximum amplitude at and above +6 dB of boost. Such PEQs are impossible to implement in the analogue domain, hence the “ideal” name. Another speciality variety is the Constant-Q New, which follows a new Q definition. It preserves exactly the same bandwidth at the half of the maximum amplitude for all amplitude values. Unlike the classic Q definition, this includes the range below 6 dB of boost. Due to its amplitude/bandwidth dependency in terms of a classic Q definition, this new kind of constant-Q PEQ could also be thought of as a member of the proportional group.

Finally, MAAT emulated two vintage parallel equalizers. With parallel construction, the main input feeds every filter in parallel, with each filter’s output being summed together for the final composite output. With a series implementation, filters are cascaded; each fed from the output of the previous filter. Unlike a series parametric equalizer (almost all parameters are serial), parallel–connected filters combine or cascade differently. They also behave differently in terms of phase. Their special interactive behaviour between bands is offset by a pleasing sonic character. MAAT’s Parallel LC emulates old skool parallel passive PEQ circuitry built with inductors and capacitors. The Parallel Feed-Forward/Feedback topology emulates the feed-forward/feed–back designs still popular in low noise analogue graphic EQs. While the feed-forward path is trivial to implement, the feedback path is impossible to implement in traditional digital signal processing, because of the need for so-called “delay–free” feedback loops. In SantaCruzEQ, MAAT apply a unique and very elaborate technique for true emulation of delay-free feedback. The result is a characteristic sound and perfectly complementary filters for boost and cut.

The Filter Library

In SantaCruzEQ, not only are various bell-shaped filters available but also different kinds of shelving filters. Nine of the series equalizers use a special shelving design characterized by a cut–off frequency defined in the middle of the transition region. MAAT found these filter definitions more intuitive than the classical “–3 dB below maximum.” The old skool definition is only used in the Classic Asymmetrical architecture in order to conform to its analogue antecedent. All 2nd order shelving filters have a Q adjustment to emulate vintage characteristics, with their inherent and specific bumps at higher slopes. Also, the parallel equalizers are equipped with respective shelving filters shapes that are typical of old parallel PEQs. They also have interacting bands as did their analogue predecessors.

Every complex PEQ is equipped with cut filters. With SantaCruzEQ, each of the six equalizer topologies can provide 1st and 2nd order cuts. The 2nd order filters have a Q adjustment to create a resonant filter response and can be combined to provide very steep “brickwall” slopes by cascading several Sections.

Best of Both Worlds

SantaCruzEQ is a creative equalizer tool combining the best of both the analogue and digital domains. To avoid bell filter asymmetry at high frequencies for baseband sample rates, typical of many digital equalizers, MAAT have applied reference-quality upsampling, which automatically kicks in for 44.1 or 48 kHz. By using proprietary filter algorithms, they have achieved a huge dynamic range, as well as extremely low noise and distortion. This yields unparalleled sonic purity, impossible for any analogue circuitry. MAAT suggest leaving the oversampling option always on so as to get the “analogue” smoothness missing from other brand’s EQs.

Summary

  • Fully parametric minimum phase EQ for complete control
  • 80-bit internal precision blows away the competition for sound quality
  • Up to six unique idealized architectures, derived from analogue circuitry
  • Broad choice of cut, shelf and bell topologies
  • AutoGain for effortless A/B comparisons
  • Proprietary oversampling for “analogue” sound at 44.1 and 48k
  • Supports sample rates from 44.1 to 384 kHz

System Requirements

Operating Systems

  • macOS 10.8 and newer (64 bit)
  • Windows 7 and newer, (32 & 64 bit)

Supported Platforms

  • AAX (Pro Tools 10.3.10 and newer)
  • AU
  • VST 2
  • VST 3
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