The same goes for shelf and notch filters. The Band Pass mode in EQIII works well enough but the solo behaviour doesn’t change with the filter type so if you are soloing an HPF it solos the area around the cutoff frequency in the same way as it would if it were a bell filter. Being able to solo a band of EQ to find offending frequencies rather than using a swept peak is so much better.
Fabfilter pro q 3 channel mode pro#
The masters of this are Sonnox but FabFilter are one of the few other companies who offer any choices around Q/Gain dependency.īand Pass mode, holding Control and Shift or Start and Shift on a PC when using Pro Tools’ stock EQIII plug-in has been one of the reasons I stayed with it for so long.
The way Q changes, or doesn’t as gain increases in either positive or negative directions makes a big difference to the “feel” of an equaliser. Similarly, the Band Pass option can be achieved using a pair of high and low pass filters but the dedicated filter type achieves everything a pair of filters achieves with more convenience and controllability, and of course, the steep filter slopes, up to a preposterous 96dB/Oct, can band limit your guitars or BVs as hard (or as gently) as you like.Įxotic filter shapes aside, a much less often discussed area, when it comes to filter shapes, is Q/Gain dependency. The Flat Tilt option is deliberately inflexible but the ability to tip the overall spectral relationship within a mix one way or the other without changing the internal relationship between frequencies in the audio is something you can’t easily achieve using stock EQ. A low cut and a high shelf might get used, even a notch filter but there are some really useful alternative shapes available if you dig a little deeper.
Interesting shapes can be created by changing the filter slope to a value other than the default of 12dB/Oct but I suspect that most users stick with the default bell filter for most of their work. The default filter shape is a bell filter, a parametric band with a default Q of 1. Pro-Q3 has up to 24 bands of EQ, it opens with none and to create a filter you just double-click. Not all of them are big, attention-grabbing features, for example, I don’t talk about the undeniably slick Match EQ function or the Dynamic EQ, but the five I’ve chosen are things I use and value every time I use this powerful EQ plugin. Rather than try to talk about all of them today I thought I’d highlight five. There are lots and lots of reasons you need to check this EQ out if you aren’t already a user. Why? If You Haven’t Tried Pro-Q3 Yet, Here Are Five Reasons You Should But the Pro-Q3 still seems to be the one to beat. If you can’t mix with these the problem is you, not your EQ. I don’t mean character EQs which recreate Pultecs and Neves but offerings from the likes of GML, Sonnox, DMG, Waves and iZotope which are fantastic tools. There are lots of really excellent third-party equalisers out there.
So Many Good Alternatives To Stock EQ Plugins It might not be but I would be surprised if it weren’t. I’d be surprised if Pro-Q3 wasn’t the most popular third party EQ out there. However, it occurs to me that, if such data were available, we’d find that Pro-Q3 is so popular that its ubiquity is approaching that of stock DAW equalisers.
That is the undeniable advantage of staying with stock plug-ins. They sound as good as any utility EQ, we know them inside out and we are safe in the knowledge that anyone who uses our DAW of choice will have access to the same EQ. As a result, it is rightly popular but so many of us, including me until relatively recently, have been perfectly happy with our stock DAW EQs. FabFilter’s Pro Q3 has achieved something quite remarkable in a short time, Pro-Q3 and its predecessor Pro-Q2 have taken the ubiquitous workhorse EQ as found in every DAW and lifted it to a new level of sophistication and capability.
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