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The latter generally proved more useful to me in mastering and on master-bus EQ - both roles in which this EQ serves well - as it makes fine control much easier. Beneath each gain control is a switch to change the scale from ☑5 to ☗ dB. Gain is at the top, bandwidth in the middle and frequency at the bottom. The LP/HP filters are at the outside of each channel, and on each channel the bands run, reading left to right, from low to high. Much as I like to think I'm not swayed by what I see, I find I make different decisions, and largely better ones, with less assertive boosts and cuts, when I use an EQ with this sort of interface - where the sound and the position of the knobs are all I have to go on - than I do when using something like, say, FabFilter Pro‑Q3.ĭespite the profusion of virtual knobs, buttons and LEDs, the layout is clean and intuitive, particularly when you have the lower panel hidden. There's no frequency analyser or visual representation of the changes you make to the frequency response, of the kind we've grown accustomed to seeing on so many digital EQs, but I actually like that. So there's plenty of flexibility here, though you can't select L‑R/M‑S per band, which would be nice. The two channels can be linked/unlinked as you prefer, and can be configured to process the Left and Right or Mid and Sides channels. There's generous overlap between the five parametric bands. There are additional 12dB/octave high- and low-pass filters plus a Mono-maker elliptical filter, a Mid‑Sides-based stereo width control, and a THD harmonic distortion control. This is a dual-channel five-band parametric EQ, each band of which is individually bypassable, but it boasts many other features.
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Installation on my MacBook Pro (Mac OS 10.14.1) was hassle free, and I tested the AU and VST2 and VST3 versions in Reaper and Cubase.
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The Amek EQ200 is available in the common plug‑in formats for Mac and Windows. They've taken the opportunity to extend the functionality in software too, with new features and some that were introduced on previous Plugin Alliance software. Rather, the Brainworx team set out to create a hybrid that builds on what Ulrich considers the most desirable control elements and tonal characteristics of those processors. Before you rush out to compare it with those frighteningly expensive mastering units (or plug‑in emulations of them), I should point out that this doesn't directly emulate either. This Brainworx EQ is inspired by esoteric mastering hardware.ĭespite the Amek branding, Plugin Alliance's new Brainworx Amek EQ200 is actually inspired by owner Dirk Ulrich's love of certain mastering hardware, notably EQs made by Sontec and GML.