- Publisher: MAAT
- Product: thEQred
- Version: 1.1.1
- Format: VST, VST3, AAX
- Bit Depth: 32-bit and 64-bit
- Operating System: Windows 7 and newer
MAAT’s thEQred is a linear phase EQ VST (Virtual Studio Technology) plugin for Windows. thEQred runs as a VST, VST3, and AXX plugin. thEQred VST plugin can be used with all major digital audio workstations (DAW) including Ableton Live, Logic Pro, Cubase, Pro Tools, and others.
thEQred Is The New Black
Think of thEQred as LP PEQ Red 2.0…we’ve taken the basics of Algorithmix’s exemplary LinearPhase PEQ Red, and given it a MAAT makeover. there’s no other æsthetic equalizer like thEQred. With its ability to invisibly provide a spectral counterweight to mixes that lean a method or another, thEQred excels at straightening up biased content. Add crystalline air without stridency to a dark mix, or strengthen lower mids and bass without bloat or loss of focus. With twelve bands or Sections of precision, linear phase parametric equalization featuring unique shelving filters, mastery of complex mixes without changing their overall sonic character is simply a couple of clicks away.
A little backstory…An idea was born to reissue this masterpiece, alongside the opposite legendary Algorithmix EQs, and make it available as 64 bit altogether common formats and (finally!) for macOS. As an influence user, our visionary Friedemann had some ideas in mind regarding the improvements. Specifically, he wanted to form the interface, the UI, more flexible, and faster to use because there’s no other tool within the mastering chain that receives the maximum amount “seat time.” The result: Our thEQ UI and have set. The UI affords super fast setup and includes a variety of unique features which help to hurry your work: The positive & negative Contribution function including absolute difference, the highly adjustable sonogram which makes detecting problem spots easy, and therefore the possibility to play a note on the keyboard that you simply have in your head then snap a neighborhood thereto respective frequency with one click. Also, having all twelve Sections visible simultaneously, to not mention the type button function.
thEQred works within the frequency domain. That is, the input is first transformed into a spectral representation. Then, that spectral equivalent is operated upon. Special measures are taken to make sure high resolution at critical low frequencies while keeping time resolution untouched. Unlike other frequency-domain filters, this avoids drums or other instruments containing strong transients from being blurred. additionally, extremely high compute resolution has been wont to avoid any cumulative truncation effects typical in complex frequency transforms. This leads to unblemished sound quality.
There are other plugins on the market using frequency-domain techniques. Most of them apply relatively low-frequency resolution then claim that frequency response mathematically interpolated between a couple of set points or that freehand drawing is that the best solution. this might be true for a few industrial applications, but such filters simply don’t sound musical. We’ve worked hard to ensure that filter shapes in thEQred exactly match the simplest analog references. The result’s sonic quality that’s undisputed, even at baseband 44.1 and 48 kHz rates.
thEQred was designed to deliver the very best possible linearity right down to subsonic frequencies. This and other powerful features hide behind its clean and straightforward UI. visual percept is great for newbies, but thEQr isn’t your typical filter: thEQred packs all the advanced features you would like into one resizable window that’s easy on the eyes. Not only does the UI “get out of the way” so you’ll be more productive, but we’ve also incorporated industry-first features that speed your workflow, neatly packaged to form thEQred easy and intuitive to use.
Better by Design
Whether you’re trying to find gentle rehabilitation, colorless correction, or just baggage–free spectral contouring, our proprietary, precision algorithm delivers on the promise of linear phase EQ. Bring the facility and purity of thEQred in touch for all of your critical equalization tasks.
As Friedemann says, “It’s all about the curves.” alongside all the features of our thEQ family, thEQred incorporates a singular and proprietary filter technology allowing you to regulate any slope between 0 and 24 dB/octave. Almost any filter needed or desired is often dialed in quickly and simply, from broad shallow strokes to cascaded deep cuts.
- Five Panorama modes; stereo, mono (L+R), left–only, right–only and difference (L-R) for focused treatment or enhancement
- Two Stereo modes; Left/Right or Mid/Side
- Four Contribution modes; positive addition only, negative addition only, EQ contribution only, and “normal” EQ out assist you to stay track of your progress
- The extended frequency range covers the ultrasonic, suitable for any HRA post
- Equal delay in the least frequencies independent of filter settings, perfectly preserving the time relationship of harmonics
- No phase distortion and no temporal dispersion, eliminating transient smear
- Freedom from unwanted coloration for exceptional clarity, transparency, and definition
- Exclusive VariSlope technology offers shelf and cut filters with any roll-off within the range of 6 to 24 dB/octave also as continuous slope adjustment below 6 dB/octave, impossible with any classic filter
- Twelve Sections with eight freely assignable parametric filter types: classic bell, high or low shelf, high or low cut also as VariSlope high or low shelf, and high or low cut
- Adjustable Q for shelving and cut filters
- Proprietary algorithms deliver extraordinarily low distortion and noise
- For ultimate fidelity, deep 80 bit super double-precision internals virtually eliminate rounding errors and distortion
- Perfect emulation of analog filter characteristics, clearly perceptible when equalizing audio at baseband sample rates
- Extremely shallow VariSlope shelves for gentle brightening or added weight
- Cascade cut filters for “brick wall” characteristics
- Resizable UI for straightforward and precise adjustments or for ultra–high resolution displays
- MAAT’s smart AutoGain for effortless A/B comparisons
- Inbuilt tone generator makes for quick location of trouble spots
- SORT function eliminates the necessity for busy, distracting UI elements
- TUNE function aligns center frequencies to Western tunings
- Grid snap toggles between surgical and musical applications, emulating popular hardware resonant frequency choices, including Maselec and Manley
- Exclusive dual view, monochrome/color real-time spectrogram with user-adjustable temporal wiper allows you to choose “when” to transition to low distraction monochrome
- Choice of parametric editing via numerical fields or directly via the graphical display
- Operates at up to 384 kHz sample rates for HRA or game audio workflows
- Complete setup exchange across multiple instances
- Automatic latency compensation with all modern DAWs
- A/B comparison for fast deciding
thEQred may be a unique tool for mastering engineers who have already got access to diverse high-end EQs for various tasks. There are several frequency–domain, linear phase EQs on the market, but thEQred, with its wide, 80-bit double-precision processing and optimized–for–fidelity algorithm, will bring a replacement sense of transparency to your work.
With all the features and functionality of Algorithmix’s beloved original LP PEQ Red, the feature-packed thEQred brings such a lot more. Use its powerful processing and double-precision I/O for:
- Mastering and remastering tasks on complex, hi-fi mixes
- Removing unwanted ultrasonic content from HRA recordings
- Identifying resonances with ease when sweeping, thanks to the low inherent ringing
- Putting mixes with an excessive amount of DC or an excellent fat kick on a diet
- Uncolored aesthetic equalization of acoustic performances, perfect for classical, jazz and folk
- VariSlope rebalancing of unbalanced mixes
- Adding super-clear and inconspicuous “air” to dark material
All true linear phase EQs have similar specs. Dirac spikes and other artificial test signals will produce about an equivalent results no matter whose product you are trying. A solo chime or kick drum track isn’t what thEQred was designed for. As for all our thEQ products, it excels at equalizing actual music!
What to not use thEQred for is tracking or mixing! thEQred may be a low channel count plugin, designed for the master buss and mastering. thanks to the insane complexity of the algorithm, thEQred features a hefty CPU demand. It’s not a “lightweight”!
thEQred fits in with all modern workflows:
- Supports LPCM sample rates up to 384k for DSD and high–end postproduction
- All standard formats: AU, VST 2 and three, AAX
- Compatible with macOS and Windows
- Low fatigue visual design
- Resizable interface for each screen resolution
Linear Phase Royalty
Most all parametric equalizers or PEQs are implemented via phase shift. That is, the incoming dry signal is mixed with a phase-shifted version. Because the quantity of the phase shift is frequency dependent, some cancellation or reinforcement occurs at the specified frequency. It gets the work done, but with a serious disadvantage: the various signal components of the resulting audio become opened up in time, so time relationships between harmonics within the filtered output is heavily altered. The result: a pleasant sharp attack becomes slurred and muddy or worse, strident and brittle.
thEQred changes all that, providing profoundly punchy lows and airy, silky smooth highs like no other. It preserves the time relationships of harmonics, which translates into a smoother top end, sweeter and larger midrange, and a clearer, more distinct bottom in comparison to phase shift–style EQs. The resultant sound seems less processed, more like what should have naturally been captured by the microphone. You won’t get those punchy transients and silky highs with analog outboard or any ol’ IIR digital.
In addition to all or any the user-centric features that MAAT brings you, like Panorama mode and Contribution controls, thEQred features VariSlope™ technology, proprietary to thEQr. With VariSlope, shelving and cut filters offer continuous adjustment of any slope within the range from 0 to 24 dB/octave. Unlike other EQs that permit you to define or draw the curve, VariSlope offers unique versatility while preserving the sound quality MAAT EQs are known for.
The exclusive VariSlope filter technology allows you to dial in continuous slope filters that emulate any critically damped shelf within the range from 1st to 4th order, including all imaginary filters in between. “Imaginary” because critically damped filters offer only slopes in discreet 6 dB/octave steps per “order”: 6, 12, 18, 24 et cetera. Our continuous slope low and high cut filter performs similarly, yet you’ll continuously change its slope from a critically damped 4th order equivalent, through 3rd, 2nd, and 1st order right down to zero. The critically damped VariSlope high cut mirrors the continual slope VariSlope low cut.
Such “in–between” frequency-response filter characteristics, especially with slopes but 6 dB/octave, are absolutely impossible to implement with classical filter technology. the sole workaround would be to cascade many 1st order filters with specially weighted amplitudes to urge the general amplitude envelope lower than 6 dB/octave. Such kludgy filters, however, deliver a wavy frequency response characteristic and are tainted with nasty phase shift and group delay. Quite the other, our VariSlope filter affords very smooth, controlled spectral changes with a none phase shift.
thEQred works strictly within the frequency domain, while sounding a touch softer than her linear phase sister, thEQorange. working at up to 384 kHz, which extends resonant frequency settings up to 80 kHz, it’s perfect for top resolution DSD, DXD, and game audio post-production. Its calculations are stored at 80 bits of precision, far more than 32-bit commodity EQs, and quite what even fancy 64 bit EQs manage. The result: the development of your composite filter is impeccable, with vanishingly low THD and without loss of very low amplitude detail.
Vive La Différence
What are the differences between thEQorange and thEQred? We recommend thEQo for “surgical” work, mostly negative gain EQs to deal with issues during a mix during mastering when material must be “fixed” because it’s a drag . On the opposite hand, thEQred is best at aesthetic work, artistic equalization that creates material sound better without affecting the time domain. like thEQorange and both being linear phase, thEQred doesn’t leave a signature on the sound the way thEQblue does. Because it’s a minimum phase, not linear phase, thEQblue is for once you would reach for an analog EQ, but with ultimate fidelity that can’t be achieved with analog. So, the three of them together replace all EQ use cases, unless you would like distortion, and thEQblue with its 12 Architectures replaces all-analog EQs one might want.
thEQred also has VariSlope, something we expect is exclusive within the industry. So, keep thereupon aesthetically minded approach, with thEQred, you’ll do really broad or really gentle lifts or suppression, also as all the “normal” stuff you’d expect from a fixed–order EQ. Most engineers think that each one equalizer are both problem solvers and artistic. thereto we are saying, “When all you’ve got maybe a hammer, everything seems like a nail.” Grab a replica of both thEQred and thEQorange, then hear both side by side. I feel you’ll hear why we expect of them differently.
If you’ll afford just one of our thEQ products, it’s probably best to travel with thEQblue. Its versatility is unsurpassed. If, however, you’re employed with a good amount of acoustically recorded performances and better fidelity recordings, then over time, you’ll find both thEQorange and thEQred indispensable. Specifically for that, we have got the annual thEQlp (Linear Phase) subscription, which incorporates both thEQorange and thEQred.
Experts say that the majority of digital EQs don’t sound like their analog antecedents, especially when working with baseband 44.1 or 48k sample rates. Spectrum modifications of high frequencies sound unbalanced. the rationale is so-called “frequency warping,” which makes bell shapes asymmetric, while high shelves and cuts exhibit steeper slopes than expected. In thEQred, special corrections are applied, making them look exactly like their analog counterparts while yielding a smooth analog sound.
If One is sweet, Isn’t Two Better?
People have asked us why we haven’t included alternative modes like minimal phase and every one the opposite options you discover in competing products. Our goal as plug-in designers is to make tools from the user perspective, offering only enough flexibility with a carefully chosen set of options, therefore, the user can specialize in the work at hand. it might be easy to feature dozens of additional options to the preferences window but why? That’s what thEQblue is for, an entire box of “colors”! As a mastering engineer, you would like specialized tools that do a specific job within the fastest and absolute best manner.
thEQred may be a perfect example of just such a tool. Dr.s Musialik and Hatje have already worked through an in-depth refinement process. When asked about this, Musialik stated that “…the optimization and refinement of our algorithms was a really long, tedious and iterative procedure between research, development, and feedback from experienced mastering engineers. Unfortunately, in high res audio, not everything is measurable or provable by numbers. this is often very true for the measurement of dynamic behavior and reactions to real-world, complex signals.”
Musialik emphasizes that “There is not any ‘best’ audio tool for everyone .” His advice: Perform your own listening tests, then select which instruments you would like to incorporate in your kit.