Drag the new Gain Scale slider to proportionally scale-from 0 to 200 percent-the boost and cut amounts of all active bell and shelving filters. Alternatively, double-click either a band’s node or its frequency knob and type in a musical note value (such as D#2) to quantize the band’s frequency.Īctivating Pro-Q 2’s Auto Gain mode applies make-up gain to compensate for gain changes caused by equalization. Drag the dot to another key to quantize the node to a different musical note. Click a key’s dot to quantize its associated EQ node to the frequency of the corresponding musical note. For each filter you add in the x-y display, a colored dot is placed on the key that corresponds to the filter’s center or corner frequency. In Piano Display mode, Pro-Q 2 shows the musical note-including any +/- offset in cents-corresponding to each band’s center or corner frequency: for example, “441.83 Hz A4 +07.” In this mode, Pro-Q 2 replaces the frequency titling traditionally used along its x-axis with the 88 keys of a virtual keyboard (the frequency grid remains). The spectrum analyzer can be made to show the sidechain signal’s spectrum in lieu of or together with spectra pre- and post-EQ for the audio path’s signal. Normally, both signals are analyzed at once, but controls let you analyze each in turn so that, for example, you can conform the input signal’s spectra during a chorus to the sidechain signal’s spectra during a verse. A Gain-Q interaction function, when activated, progressively narrows a bell filter’s Q as you boost the filter’s gain-much the same way as some analog mixing boards work.Ī new EQ Match mode changes the spectral balance of the plug-in’s input signal to match that of signal routed to its external sidechain input. (Eight other slope selections are available.) Tilt-shelf and bandpass filters have been added to the pre-existing arsenal of bell, HPF, LPF, notch and low- and high-shelving filters the tilt-shelf boosts on one side of the selected frequency while cutting on the other. The updated plug-in offers steeper filter slopes for all filter shapes, including bell and shelf: up to 96 dB/octave.
#Fabfilter pro q 2 vst plus
You can change the frequency, gain or Q in linear-phase mode without incurring zipper effects-a plus for automating EQ changes while mixing or mastering. The plug-in’s linear-phase mode has reportedly also been improved, offering better magnitude response and avoiding artifacts when using any of its lower-resolution options (which incur lower latency). Newly added Natural Phase filters more closely match the phase response of analog EQ than Pro-Q 2’s other filter types, without producing noticeable pre-ringing artifacts or incurring long latency. Pro-Q 2’s new processing engine uses CPU resources more than twice as efficiently as its predecessor.
Multiple-undo/redo functions, A and B workspaces, preset management and online documentation are included. A real-time spectrum analyzer transparently overlays the plug-in’s interactive EQ (x-y) display. Both linear-phase and zero-latency (minimum-phase) filters are offered, their parametric control sets (frequency, gain, Q, channel assignment and so on) displayed for only one selected filter at a time in the uncluttered GUI (see Fig. Like its predecessor, Pro-Q 2 offers up to 24 bands of analog-modeled equalization and mono, dual-mono, stereo and mid-side operation.
#Fabfilter pro q 2 vst mac
I reviewed the AU plug-in using Digital Performer Version 8.06 and an 8-core Mac Pro running OS X 10.9.5. Pro-Q 2 is available in AAX Native, Audio Units, VST, VST3, AudioSuite and RTAS formats (with both 64- and 32-bit frameworks, except for the 32-bit-only RTAS). With the release of Pro-Q 2, the euphonic and versatile plug-in has become even more musical and powerful. When FabFilter unleashed its Pro-Q plug-in in 2010, it quickly became my go-to equalizer for mixing, mastering and post-production sessions.