The PQ Mastering Equalizer is a fully parametric, dual-channel five-band equalizer, based on pioneering 120V rail technology. Able to switch between constant and proportional Q modes with the push of a button, this kind of circuit has not yet been achieved in any other analog equalizer.
PLParEQ is a 10-band Phase-Linear Parametric Equalizer of the highest quality. Each filter may assume any of many different filter characteristics, and operate in either traditional phase-warping mode, or our phase-linear mode. It uses the same internal DSP core as all of our other high-end products. Audio streams are treated in either stereo or mono. Individual filters can be applied to either or both stereo channels, middle only, or side only. Phase Linear Operation is achieved by processing your sound in both the forward-time and reverse-time directions through classic filters – all in realtime. This completely removes the phase warping caused by IIR filtering, and applies their roll-off twice. So each filter type becomes two: one for classic IIR filtering, and the other for Phase-Linear operation.
Why develop yet one more minimum phase parametric equalizer (PEQ) when there’s already hundreds on the market? The answer is simple…’Cuz there was room for improvement! It was customers of the original LinearPhase PEQ Red and Orange who asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, our Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledgebase of analog 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 analog antecedents, while others are based on new ideas.
Combining the smooth operating EQF-100 parametric passive equalizer with the mild but authoritative TLA-100A compressor, Grand Channel is a highly versatile channel strip that will cover a large part of your mixing needs. Having the two combined in a single plug-in makes adjustments easier, as you will often find that the compressor affects the equalizer and vice versa. By default, the sound reaches the equalizer before the compressor, but you can easily reverse the order with a single switch.
GlissEQ is a parametric equalizer AAX, AU and VST plugin for professional music production applications. The most interesting and unique feature of GlissEQ is the dynamic behavior of its filters. To understand dynamic filtering, let’s begin by re-stating something probably obvious about a normal equalizer: you always get what you set. In other words, when you specify a 6 dB boost at 100 Hz you get exactly 6 dB of boost at 100 Hz. But GlissEQ is different. When you specify a 6 dB boost at 100 Hz, you don’t necessarily get a 6 dB increase in gain. Instead, the filter’s effective gain is adjusted dynamically according to the program material. That is what we mean by dynamic filtering and it is the key to GlissEQ.
EQISM.220 is a Parametric Equalizer, with five adjacent bands seperated by filters of 2nd to 20th order. It’s focus is ease & fun of use. The second order filter section is sufficient for most mixing tasks. And it is free. There is no demo noise in the unregistered version as long as you use it. The filters of higher order make EQISM.220 a sound wizard for skilled users. They have the power to cut deep into your sounds and attenuate or amplifie even smallest frequecy bands as exact as you like.
HydraTone is a five-band convolution EQ with fixed-curve bass and treble bands and true parametric low-mid, mid and high-mid bands. Additionally, HydraTone offers separate bass and treble filter sections featuring the unique ability to provide both filter-cut and filter-expansion processing. HydraTone allows the user to do more than simply select a single classic analog circuit for their EQ model; HydraTone also allows the user make this selection on a band-by-band basis. This allows the user to, for example, simultaneously use one EQ model on the bass band and a separate model on the high-mid band. HydraTone’s output stage provides several additional algorithms. The first is a unique signal warming and mild compression algorithm called “Fire”. The second is the ability to perform frequency-specific phase manipulation similar to that of hardware boxes popular for aligning multi-signal pairs. Finally, HydraTone allows the user to select a completely separate signal-path model for final output coloration.
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