We're currently living in the age of digital audio. EQ is an incredibly powerful tool that is essential to any music producer.

But there are so many different EQ plugins in the music production landscape, so we decided to create the ultimate list of the top EQ plugins today that will help you find the perfect fit.


Oxford Dynamic EQ HD/HDX

EQ by Sonnox



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Description


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

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


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

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

Important Note: This is an HD/HDX plug-in that is intended for use with the DSPs of an Avid HDX system to prevent the software from taxing your host processor. There is no difference in sound quality between the Standard and HD/HDX versions. If you do not own an Avid HDX system, all you need is the Native version.

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.

OS Compatibility



Oxford SuprEsser DS

EQ by Sonnox



Images



Description


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 

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


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.​

OS Compatibility



Weiss EQ1

EQ by Softube



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Description


Note: The following upgrade is also available:

A 1:1 Code Port of the Weiss EQ with No Equal

Overview

  • A line-by-line code port boasting 1:1 accuracy of the pioneering original hardware, known as the standard of digital mastering EQs​.
  • Increased functionality of the original algorithms, plus 32-bit / 192 kHz operation and updated ergonomics.
  • Easy manual recall of Presets that sound and behave exactly like they do in the hardware​.

There’s a reason Weiss Engineering’s EQ1 has been at the top of the heap since its release in 1996. The EQ1’s dazzling sonic qualities combined with its flexibility as either a Minimum Phase EQ, a Linear Phase EQ, or a Dynamic EQ have made it the must-have digital mastering equalizer. The Weiss EQ1 plug-in crystallizes that legacy—in software form.

Weiss Engineering’s go-to hardware and Softube’s workflow and ergonomic advancements combine here to stunning effect. A one-for-one, line-by-line code port of the original, the EQ1 plug-in is the latest and greatest addition to Softube’s successful partnership with Weiss Engineering. EQ1 joins DS1-MK3, MM-1, and more out-of-this-world Weiss + Softube products to prove that Swiss and Swedish engineering make a stellar pair.

Doppelgänger

The EQ1 plug-in is a true line-by-line port of the original SHARC assembler code. It’s an accurate replica that functions just like the original, but with added features that take it higher.

Colossal Heights

The Weiss EQ1 is the mammoth of equalizers, but Softube felt compelled to go further. Softube and Weiss gave the EQ1 plug-in a higher sample rate, improved ergonomics, and increased functionality.

Picture Perfect

The EQ1 plug-in lets you easily recall Presets (or Snapshots in the hardware counterpart) manually and they'll sound and behave precisely as they do in the hardware.

The Original and Still the Best

The original Weiss EQ1 is the stick by which all digital mastering EQs are measured. EQ1 boasts seven identical parametric bands that cover the entire audio frequency range and have an incredible Q-parameter range of 0.2 to 650. Each EQ band has Boost/Cut, Frequency, and Q/Slope knobs and operate in any of the following modes: High-shelving, Low-shelving, Peaking, High-cut, Low-cut, and Bypass. High auditory quality and functional design made the EQ1 a bestseller in 1996 and solidified its status as the top digital mastering EQ in the field going forward.

A Software Scion

An astonishingly accurate model of the hardware, the Softube + Weiss EQ1 plug-in covers all configurations and functions internally just as the original unit does. The saved Presets (or Snapshots, as they are referred to in the hardware) can easily be manually recalled to the plug-in and will sound and behave identically. The EQ1 plug-in is no pretender; it’s the real deal with extra features that make it an invaluable asset.

Raising the Bar

With every new iteration of EQ1, the standard has been set higher. The EQ1 plug-in is not an exception to this rule. Not only can you set the Threshold, but now you can also set Attack, Release, and Ratio in Advanced Dynamic Mode. The hardware allows four bands to function as dynamic bands, while the EQ1 software version kicks it into high gear and lets you activate all seven bands in Dynamic Mode. The additional components of the Weiss EQ1 plug-in have it racing ahead.

Flat-out Fantastic

When porting the code from the original hardware, Softube strove to be exacting, as always. But, true to form, they didn’t stop at perfection. Softube added innovative features that make the workflow speedier. The Weiss EQ1 plug-in user interface is a replica of the hardware, but now it adapts depending on the setting of the four distinct user interface configurations. The knob layout changes according to which modes of the unit are activated. In this way, the parameters are available at all times—independent of what mode is chosen—making access to them simpler and faster than ever before. 

Softube & Weiss: Meeting of the Minds

Weiss has been a pioneer in digital audio equipment design since 1979. That’s when Weiss founder, Daniel Weiss, joined Willi Studer AG in Switzerland as an engineer. In 1985, Weiss struck out on his own and founded Weiss Engineering with a focus on pioneering digital audio equipment for Mastering Studios. The result of that endeavour is now legend.

Softube’s relationship with Weiss started in 2008 when they were first introduced to Daniel Weiss. Despite having so many guiding principles in common, it wasn’t until 2015 that Softube got serious about working together. Three years—and some blood, sweat, and tears—later, the Softube + Weiss DS1-MK3 plug-in was unveiled to great fanfare. And the tradition continues.




Features

  • A line-by-line code port of the original Weiss EQ1, the standard-bearer of digital mastering EQs and a must-have for mastering houses worldwide.
  • A surgical Minimum Phase EQ, a true Linear Phase EQ, and a Dynamic EQ—all in one.
  • 7 full-range bands with -39 to +18 db Cut/Boost range.
  • Threshold, Attack, Release and Ratio parameters available on individual bands in Dynamic Advanced Mode.
  • Operates in Minimum Phase, Linear Phase, Dynamic and Dynamic Advanced Modes.
  • High and Low Cut, High and Low Shelving and Peaking Incredible Q-Range of 0.2 to 650 M/S Processing, Solo/bypass individual bands and Link Channels 4 user interface layouts Up to 192kHz sample rates and, with 64-Bit internal processing.
  • Workflow and ergonomic advancements with four adaptable user interfaces.
  • Created in collaboration with—and endorsed by—Weiss Engineering.

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

However, 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.

Important note: 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​

OS Compatibility



SSL Native X-EQ 2

EQ by Solid State Logic



Images



Description


The Ultimate SSL EQ for your DAW

X-EQ 2 is the ultimate SSL EQ toolkit for audio professionals. Built upon SSL’s proprietary anti-cramping algorithms, X-EQ 2 simply sounds stunning. With 17 different classic and modern EQ type/curve options, X-EQ 2 is a formidable and powerful contender to be your new ‘go-to’ EQ plug-in.

X-EQ 2 is a highly configurable 24-band EQ plug-in, featuring unique anti-cramping algorithms for an unparalleled open and transparent sound. It’s the ultimate EQ toolkit, with 17 different EQ types and filter shapes. Each band is switchable between bell, shelf, low pass or high pass filter types, with both classic and customisable shapes available for each band. It features brand new spatial processing options, band soloing, and the classic X-EQ 'Parallel' mode for recreating the characteristic sound of old parallel passive EQ circuits.




Features

  • Fully parametric 24-band mastering-grade EQ
  • 17 different EQ types and filter shapes for incredible versatility
  • Anti-cramping algorithms preserve high-frequency information sometimes lost in a digital-audio environment
  • DSP-optimized for light and efficient CPU use
  • Mid-side and independent left/right processing
  • Pinpoint trouble frequencies with band soloing
  • Real-time visual frequency analysis

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac

  • macOS Sierra (10.12) or higher (64-bit only)
  • Intel Dual Core Mac running at 2.4GHz or higher
  • 4GB of RAM minimum, 8GB preferable
  • AU, VST2, VST3, AAX Native

Windows

  • Windows 7, 8, 8.1, and Windows 10 (64-bit only)
  • Intel Core 2 (or comparable) CPU running at 2.4GHz or higher
  • 4GB of RAM minimum, 8GB preferable
  • VST 2, VST3, AAX Native#

Please note: A FREE iLok Account is required for authorisation of this software.

OS Compatibility



Chandler Limited® Curve Bender Mastering EQ

EQ by Softube



Images



Description


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.



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

However, 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.

Important note: 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​

OS Compatibility



Oxford EQ V3

EQ by Sonnox



Images



Description


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
  • 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.


Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


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.​

OS Compatibility



Oxford Dynamic EQ

EQ by Sonnox



Images



Description


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

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac

  • Mac OS X 10.7 or later 
  • iLok 2 / iLok 3 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 & AAX DSP)
Logic Pro X 10.2
Logic 8 & 9
Digital Performer
Nuendo
Cubase
Ableton Live
Studio One

PC

  • Windows 7 or later
  • iLok 2 / iLok 3 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 & AAX DSP)
Nuendo
Cubase
Ableton Live
Samplitude
Sequoia
Pyramix
Studio One

Please note: This product supports both iLok Cloud and iLok USB Key activation. An iLok USB Dongle OR an active internet connection (for iLok Cloud) is required in order to activate and use this product.

OS Compatibility



SantaCruzEQ12

EQ by MAAT



Images



Description


SantaCruzEQ12

12 precision variations on “analog,” all in one affordable EQ.

Beautiful analog 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 knowledge base 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 legends, 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 the 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

In order to give you a choice of features and price, SantaCruzEQ is available in two versions:

SantaCruzEQ12, with 12 architectures; all twelve below:

  1. Classic Sym Series symmetrical, almost constant Q bell — common mix desk & outboard gear topology, try on “surgical” applications
  2. Classic Asym Series asymmetrical — Old Skool, boost like № 1 but with a narrower cut
  3. Proportional 1 Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at <6dB and narrower at >6dB
  4. Proportional 2 Series proportional — Like 03 but with bigger changes at large gain settings > ±6dB, try on vocals
  5. Proportional 3 Series proportional — Like 03 but with extra-wide bells at small gain settings, from 0 to 3dB
  6. Const-Q Asym Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products & mixers
  7. Const-Q Asy R Series asymmetrical, constant Q — Like № 6 but with mirrored boost & cut
  8. Const-Q Invers Series symmetrical, constant Q — Similar to № 7
  9. 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, with no analogue relatives!
  11. Parallel FF-FB Parallel feedforward/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.

Note: All 12 Architectures 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 has made it easy…

  • Comparing Architectures…

  • In order to make meaningful comparisons of different styles, 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 Architectures from their analog antecedents because many of the originals have undefined Q definitions due to the limitation of analog 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 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/feedback 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 applies 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.

  • 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 analog circuitry
  • Broad choice of cut, shelf and bell topologies
  • AutoGain for effortless A/B comparisons
  • Proprietary oversampling for “analog” sound at 44.1 and 48k

Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Operating Systems

  • macOS 10.9 -10.15 (64-bit only)
    Windows 7 and newer (32 & 64-bit)

Supported Platforms

  • AAX (Pro Tools 10.3.10 and newer)
  • AU, VST 2, VST 3
  • Sample rates from 44.1 to 384 kHz

OS Compatibility



Empirical Labs Lil FrEQ

EQ by Softube



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Description


Freakishly powerful.

The warm and punchy analogue sound of the Empirical Labs Lil FrEQ makes it something of an oddity in the world of equalizers. But it’s no sideshow. With its heart-shaped box of tricks, mighty analogue tone, and de-essing chops, Softube were hard-pressed to think of a more powerful analogue EQ. It’s what makes Lil FrEQ the ace in the hole for so many high-profile recording engineers and mixing professionals. When your equalizer features eight different processing sections, you can ditch the multi-plug-in setup and get on with it. The native software version—expertly modelled under the watchful eye of Dave Derr himself—gives you all that tone-shaping and correction power, plus supernatural sound quality, and flavour galore. In a word, it's un-freakin-believable.

Designed by Experts, Built on Legacy

Softube has a long history of modelling professional gear. After nearly two decades working in collaboration with premium pro audio brands like Tube-Tech, Solid State Logic, Chandler Limited®, Weiss Engineering, and Trident, Softube have a solid track record recreating indisputable classics in software form that sound precisely like their hardware counterparts.

Empirical Labs Lil FrEQ is built on this legacy, and Softube took the same meticulous approach they always do – everything needs to be exact, with skilful recording, precise testing, and fine-tuning to sound exactly like the hardware that inspired it or even better. Nothing less.

Funhouse: Eight Processing Sections

With a super-useful parameter set spread out over an unheard-of eight sections of processing, Lil FrEQ offers you the ability to instantly A/B the effect of each section as you adjust and fine-tune them. Because, in addition to a master bypass, each of Lil FrEQ’s eight sections features its own dedicated bypass switch. Lil FrEQ lets you do with one EQ what you’d normally need to combine several other tools to do. Lil FrEQ helps you mix faster and gets you the sound you want quicker.

Freak Show: The DS Section

Step right up, folks! Witness this never-before-seen de-ess function. The Lil FrEQ DS section combines tunable filters and a level independent high-frequency detection circuit that restrains excessive high frequencies, such as sibilants or other sharp transients, especially in the absence of lower-frequency content. It also acts as a unique soft-knee, high-frequency limiter and can even emulate analogue tape. With talents like these, you can see why Lil FrEQ is the vocal EQ of choice for countless engineers and has been used in numerous hit records, major live performances, and to shape vocals, snare, and bass. It’s not every day a freaky little EQ spawns a de-esser, but Lil FrEQ’s DS section is just that good.

Freaks Flock Together: The EQ

For all its unusual traits Lil FrEQ is dependably classic in some respects. Take, for instance, its four sections of fully parametric EQ (LF, Lo Mid, Hi Mid, and HF), each section with individual gain, bandwidth (Q), and frequency controls. The conventional becomes extraordinary when it's executed to this level. Every component is masterfully modelled to give you a better workflow. The result is soaring sound quality that stands out from the crowd.

Freak Scene: The User Interface

The big white knobs set the scene. Immediately, you know you're working with high-quality craftsmanship and legendary analogue sound, all in a super intuitive interface—to include those blue markings. They let you accurately simulate the settings of one of the most classic British EQs. Softube authentically modelled not just the look of the Empirical Labs Lil FrEQ but also the care and intention that goes into making it easy to use and a whole lot of fun.

Carnival of Soul

Lil FrEQ succeeds in being uncommonly powerful and musical with just the right hit of analogue warmth. The unique set of un-EQ-like features Lil FrEQ boasts make it an incredibly valuable tool in your box. It can replace several plug-ins in a signal chain and gives you better sound faster. If you’re going for super punchy and fat-sounding drums, less harsh cymbals, a natural-sounding vocal track, or just trying to fit a ho-hum acoustic guitar recording into the mix, Lil FrEQ is the gal for the job.

Destined to become a modern classic—just like her siblings, Distressor and Fatso—Lil FrEQ punches like no other, does uber-transparent correction work, and is a wickedly-aggressive and singular tone shaper. She’s totally unique. She’s the Lil FrEQ.

Tape Tip

Try your hand at using Lil FrEQ's one-of-a-kind de-ess section to emulate analogue tape:

  1. Set to HF LIM with the frequency at 6KHz
  2. Adjust until the frequencies harshly pile up
  3. Let the de-ess section kick in
  4. Hear it integrate and smooth out the high end
  5. Done!

Superknown

Raised by a family of engineers, Dave Derr has gone from a chance encounter at Radio Shack to having his gear used in every major studio and on thousands of records. A rocker in his own right, his name is now synonymous with analogue warmth, but he's not resting on his laurels. On the contrary. The humble genius behind Empirical Labs continues thinking and tinkering and incrementally improving on the already amazing array of products he’s gifted the music industry. Products like Fatso, DerrEsser, and Distressor. It's that work ethic and empirical spirit that has made ELI so well-regarded in the pro audio sphere. Its products are real-world tested and built to get the better of obsolescence. Softube couldn’t be prouder to be part of the Dave Derr and Empirical Labs legacy with their authentic emulations of their modern analogue classics: Mike-E, Lil FrEQ, Trak Pak, and the Empirical Labs Complete Collection.




Features

  • An expert component modelled native plugin version of the Empirical Labs Lil FrEQ hardware
  • Input Gain after Meter with clip indicator
  • Vintage style High-pass filter: 18 dB/octave
  • Super smooth High and Low shelving EQ
  • 4-band fully parametric EQ: LF, Lo Mid, Hi Mid, and HF: +-14 dB
  • Super-wide to super-narrow bandwidth and generous frequency ranges
  • Blue markings for vintage British style of equalization
  • DS section – the same as the famous DerrEsser
  • Individual bypass on all bands and sections
  • Punchy, fat and analogue sound

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

However, 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.

Important note: 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​

OS Compatibility



RZ062 Equalizer

EQ by Audified



Images



Description


The Sweetest EQ Ever

Two Plugins for Music Production and Mastering.​

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



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Mac OS X:

  • Mac OS X 10.11 - macOS 11 (64-bit only) (M1 Apple Silicon compatible)

Plugin Formats for Mac:

  • AAX for Pro Tools
  • Audio Units (AU)
  • VST3

Please Note: VST2 Format is no longer available.

PC:

  • Windows 7 - Windows 10

Plugin Formats for PC:

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

Please Note: VST2 Format is no longer available.

Important 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.

OS Compatibility



Summit Audio EQF-100

EQ by Softube



Images



Description


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

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • 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 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

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.

Important note: 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​

OS Compatibility



Tube-Tech Equalizer Collection

EQ by Softube



Images



Description


Timeless Equalizers Revitalized

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.

Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

However, 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.

Important note: 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​

OS Compatibility



Trident A-Range

EQ by Softube



Images



Description


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



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

However, 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.

Important note: 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​

OS Compatibility



SantaCruzEQ6

EQ by MAAT



Images



Description


SantaCruzEQ6

6 precision variations on “analog,” all in one affordable EQ.

Beautiful analog 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 knowledge base 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 legends, 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 the 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 architectures; all six below:

  1. Classic Sym Series symmetrical, almost constant Q bell — common mix desk & outboard gear topology, try on “surgical” applications
  2. Classic Asym Series asymmetrical — Old Skool, boost like № 1 but with narrower cut
  3. Proportional 1 Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at <6dB and narrower at >6dB
  4. Proportional 2 Series proportional — Like 03 but with bigger changes at large gain settings > ±6dB, try on vocals
  5. Proportional 3 Series proportional — Like 03 but with extra-wide bells at small gain settings, from 0 to 3dB
  6. 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 recommends 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 has made it easy…

  • Comparing Architectures

  • 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 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/feedback 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.

  • 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

Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


Operating Systems

  • macOS 10.9 -10.15 (64-bit only)
    Windows 7 and newer (32 & 64-bit)

Supported Platforms

  • AAX (Pro Tools 10.3.10 and newer)
  • AU, VST 2, VST 3
  • Sample rates from 44.1 to 384 kHz

OS Compatibility



FabFilter Pro-Q 3

EQ by FabFilter



Images



Description


Highest possible sound quality, unrivalled interface workflow

Upgrade Note: Pro-Q 2 users can Upgrade to v3. 

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)



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


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

macOS:

  • macOS 10.10 or higher (64-bit only)
  • AU or VST 2/3 host or Pro Tools
  • Intel or Apple Silicon processor

Plugin Formats:

All FabFilter plug-ins are available in VST, VST3, Audio Units, AAX Native and AudioSuite formats.

OS Compatibility



MTurboEQ

EQ by MeldaProduction



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Description


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

Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


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 10.9 and newer (64-bit only)
  • VST / VST3 / AU / AAX compatible host (64-bit only)
  • Intel/AMD processor with SSE2 support or Apple Silicon processor

Note: Please check your product PDF documentation for more information and installation instructions.

OS Compatibility



Passive-Active Pack

EQ by Softube



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Description


This Collection Includes Three Highly Useable Equalizer Models that are Unique to Softube

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



Video


Rating


Value For Money

Sound Quality

General Ease of Use

Number of Presets


  • Mac OS X 10.13 or newer (older OS versions will not work) (64-bit only).
  • Windows 10 64-bit (older Windows versions may work but are not tested) (64-bit only).
  • Mac: Intel Core i3 / i5 / i7 / Xeon - M1 support pending.
  • Windows: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core or newer.
  • Screen resolution 1280x800 or larger.
  • Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
  • 8 GB RAM or more is recommended, as well as at least 8 GB hard disk space for installation (individual plug-ins take less space, while sample libraries may require additional disk space).
  • A Softube account is required to register and install the software.
  • An iLok account is required for authorisation of the software.
  • Internet access for downloading installer and managing licenses.
  • iLok generation 2 and up, if you intend to use a physical 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.
  • The most recent maintenance release of the DAW application is recommended.

However, 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.

Important note: 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​

OS Compatibility



The Hoser XT

EQ by Boz Digital Labs



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Description


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



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Available Formats:

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

OS Compatibility



SEQ-ST

EQ by NUGEN Audio



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Description


Powerful Sonic Sculpting

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



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Value For Money

Sound Quality

General Ease of Use

Number of Presets


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

OS Compatibility



Claro

EQ by Sonnox



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Description


Whether you're a bedroom producer or a Grammy-winning pro, you want to take control to develop your own musical voice. Claro will empower you to make informed musical decisions in a unique and intuitive way.

Claro is a comprehensive EQ Plug-In that serves the production process from composition to final mix, with three distinct views, progressively adding deeper insight and precision to prevent mud, clutter, or harshness, helping you blend your tracks into a clear and balanced mix.

How does Claro benefit you?

Staying focused is difficult, it slows the production process and kills creativity.

Specifically designed to offer "Vibe first, detail later", Claro has three distinct views which help to build your EQ intuition and confidence without interrupting the flow. You'll be guided towards making the right decision for you, first time, every time.

After having reduced masking from your previously muddy mix, have you ended up with something lifeless or sterile?

Of course, you have, but were you aware that not all masking is bad all of the time? Masking can impart body, thickness and presence to your tracks. Claro identifies masking and empowers you to learn and choose whether it is problematic or positively contributing to the tone you're trying to achieve.

Resonance isn't always bad.

Resonances are the sharp, tonal characteristics that ring over time, as the overtones of a bell. They can cause things to sound harsh or boxy, and while you might be tempted to notch out or remove all of the resonances, they also help determine that sound's character, including its pitch.

When searching for resonant areas to tweak, Claro shows precise peaks and highlights those that resonate most over time.

You don't always refer to audio in specific Hz, so why should your Plugin?

Claro's friendly, intuitive interface guides you towards frequency ranges using familiar words such as 'Mud' and 'Harshness' in addition to Hz. A piano keyboard is also displayed to set your EQ band to a specific note helping you to work musically.

Produce | Tweak | Mix

Three Distinct Views

Claro sustains focus and accelerates your workflow through three distinct views.

The first is the PRODUCE view, offering a fast, creative EQ that actively promotes your musical creativity while removing unnecessary distractions and complex technical terminology.

TWEAK view then opens up more correctional possibilities, providing you with the cleanest, most flexible filters. The real-time analyser adapts to your moves and helps to identify problematic resonances.

Finally, use the MIX view to understand and assemble your mix. Every track is simultaneously displayed for you to prioritise, explore interactions and swiftly address frequency collisions between competing tracks.

Claro is an equaliser that aids the production process from composition to final mix. Progressively adding deeper insight and precision, Claro maintains focus and accelerates your workflow through three distinct views.

Produce - Tone

Build EQ intuition and confidence without interrupting your flow.

Broad EQ moves while creating, even if they're subtle, often inspire you to make different musical decisions.

Focus on where the energy is and discover what tonal characteristics you want to achieve.

Produce - Width

Mid-side EQ is often essential for cleaning up stereo synths and loops or creating space for vocals, and it's just as quick as Tone shaping.

Flip to Width mode to see the side-channel energy and tweak it.

Too much rumble in the sides? Mono the bass with the Low Cut Filter.

Tweak

Sometimes you'll need to dive into finer details, tweak filter resonance, adjust left/right and mid/side balance, or attenuate areas that contribute to boxiness or harshness.

Claro's adaptive spectrum analyser follows the channel (stereo, left/right or mid/side) and the Q of the band you're adjusting to show you what you need to see.

No more boosting and sweeping. Claro identifies resonances and highlights them so you can be in control of how much or little you wish to attenuate those resonances.

Mix

View all Claro instances across your project and see how the audio interacts.

Drag & drop tracks to explore corrective EQ moves across any combination of tracks from the same window.

Yellow highlights indicate where each track in your mix competes against, or masks, your chosen reference track. Areas of masking can lead to it sounding boomy, muddy, or harsh.

Use the Invert EQ function to apply corresponding boosts to one track and cuts to another to reduce masking and give each track its own spectral space.




Features

  • Claro's EQ is highly flexible, with each of its 26 bands offering:
  • A clean, musical-sounding EQ that resembles the well-loved Neve types, their modern derivatives and the SSL G Series, as well as many high-end outboard equalisers.
  • Left, Right, Mid, Side, Mono, or Stereo channel processing giving you the capability to correct, widen, narrow, or make space within each track. 
  • A wide 20hz - 40kHz range. The extended high-frequency range offers a smooth, airy quality - excellent for vocals and mix busses. 
  • Variable Q, including resonance and overshoot on the cut and shelving filters, respectively, giving you the ability to mimic classic synth filters and hardware EQ curves. 
  • Variable slopes on all band shapes, up to super-steep (120dB per octave) for surgical work and treating precise audio bands
  • Claro's automation is smooth and artefact-free, unlike most premium EQs.
  • Auto Gain uniquely keeps your track at the same loudness, no matter the signal content or how you choose to EQ it.

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General Ease of Use

Number of Presets


The Toolbox range offers 2 activations for each product licence you buy.

Providing you have an iLok account, each activation will allow you to authorise your plugin on one of these devices:

  • Machine
  • iLok device, iLok2 / iLok3 required with latest drivers
  • iLok Cloud (Active internet connection required)

Pro Tools AAX

  • Pro Tools 11 and above – AAX Native
  • Approved Pro Tools CPU, OS and hardware configuration

Audio Units

  • Audio Units (AU) compatible application (Logic, Digital Performer etc.)
  • Mac OS X 10.8 or later

VST3

  • VST3 compatible application (Cubase, Nuendo, Studio One etc.)
  • Mac OS X 10.8 or later
  • Windows 7 or later

Supported Hosts:

  • Compatible with any desktop application that supports Audio Unit (AU), VST3 or Pro Tools AAX Native plugins.

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

OS Compatibility