{"product_id":"theqblue12","title":"MAAT Labs thEQblue12","description":"\u003ch1 style=\"text-align: center;\"\u003e\u003ciframe width=\"690\" height=\"388\" src=\"https:\/\/www.youtube.com\/embed\/tmHPcJsXF9k\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/h1\u003e\u003ch1 style=\"text-align: center;\"\u003e \u003c\/h1\u003e\u003ch1 style=\"text-align: center;\"\u003e\u003cimg height=\"\" src=\"https:\/\/www.jrrshop.com\/media\/catalog\/product\/m\/a\/maatlabstheeqblue12new.jpg\" width=\"690\"\u003e\u003c\/h1\u003e\n\u003ch1 style=\"text-align: center;\"\u003e \u003c\/h1\u003e\n\u003ch1 style=\"text-align: center;\"\u003ethEQblue — Paramount MP Mastering EQ\u003c\/h1\u003e\n\u003cp style=\"text-align: center;\"\u003eA dozen precision variations on “analog,” all in one equalizer.\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eYes, Your Blueness\u003c\/h3\u003e\n\u003cp\u003eWhy develop yet one more 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.\u003cbr\u003eWe know you’ll enjoy our dozen variations of blue, newly revised by MAAT, and will find your favorite sound. We’ve also added subtle but important touches, like the ability to freely assign Sections to either stereo [left\/right] or sum\/difference [L+R\/L-R] at the same time, and to “group” all Sections and make a global gain change without disturbing the relationship of individual Sections.\u003c\/p\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eThe Twelve\u003c\/h3\u003e\n\u003cp\u003eWe wanted to lift analog to another level, so we reverse engineered a variety of well respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analog baggage, thEQblue has no noise, distortion or other secondary effects inherited from analog.\u003c\/p\u003e\n\u003cp\u003ethEQblue is the most complete collection of classic equalizer Architectures ever assembled into one package. You get precise, idealized examples of legendary analog equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, thEQblue is a sonic sandbox for every mixing and mastering engineer to play in.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch3 style=\"text-align: center;\"\u003e \u003c\/h3\u003e\n\u003ch3 style=\"text-align: center;\"\u003eDither…For Your Brain\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003eEven though thEQblue is lauded by the top echelon of audio pros, we weren’t satisfied. The sound quality was as good as anything available, but benchmark analog still had an edge. So, we added a radical new tech to thEQblue. It’s called FiDef and it adds that indescribable beauty lent by the best of analog.\u003cbr\u003eFiDef by FideliQuest (www.fidef.com) is a very low amplitude, psychoacoustic stimulus designed specifically for audio engineers. FiDef can be thought of as dither for your brain. It makes a receptive brain relax and pay closer attention to an incoming audio stimulus. In brain physiology laboratory tests using functional neuroimaging techniques, FiDef has proven to excite brain activity related to perception and attention, and to enhance the subjective processes of listening and engagement.\u003cbr\u003eYou have to simply try FiDef and see if you hear an improvement. You may, or maybe not. Better yet, give your customer two almost identical versions of a song, the only difference being FiDef or no FiDef, and let them decide.\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003e \u003c\/h3\u003e\n\u003ch3 style=\"text-align: center;\"\u003eBFF\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003eThe equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies.\u003cbr\u003eFor a century, engineers have developed countless equalizers. A few became legend, our thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound. As Spidey (and Voltaire) always reminds us though, “With great power comes great responsibility.” When designed by a clueless or cost–constrained software engineer, it can be your greatest sonic enemy.\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003e \u003c\/h3\u003e\n\u003ch3 style=\"text-align: center;\"\u003eChoice Is Good\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003eIn order to give you a choice of features and price, thEQblue is available in two versions:\u003c\/p\u003e\n\u003cul style=\"text-align: center;\"\u003e\n\u003cli\u003ethEQblue6,  with 6 Architectures; №s 1 through 6 \u003c\/li\u003e\n\u003cli\u003ethEQblue12, with 12 Architectures; all twelve\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003c\/p\u003e\n\u003ctable align=\"center\" style=\"margin-left: auto; margin-right: auto; width: 690px;\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003e№\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003ccode\u003eType\u003c\/code\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eComments \u0026amp; Analog Kinfolk\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e01\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/01-Classic-SymmetricCROP-87bcfd3f.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/01-Classic-SymmetricCROPthumb-76a12370.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eClassic Sym\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries symmetrical, almost constant Q bell — common mix desk \u0026amp; outboard gear Architecture, try on “surgical” applications\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e02\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/02-Classic-AsymCROP-4e58dc51.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/02-Classic-AsymCROPthumb-be0c1475.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eClassic Asym\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries asymmetrical — Old Skool, boost like № 1 but with narrower cut\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e03\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/03-Proportional-1CROP-3803d5c7.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/03-Proportional-1CROPthumb-21b2a49c.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eProportional 1\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries proportional — More musical than constant Q, especially for mixing and post. Bells are wider at \u0026lt;6dB and narrower at \u0026gt;6dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e04\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/04-Proportional-2CROP-af87727d.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/04-Proportional-2CROPthumb-cdbf932e.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eProportional 2\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries proportional — Like № 3 but with bigger changes at large gain settings \u0026gt; ±6dB, try on vocals\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e05\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/05-Proportional-3CROP-e39f74d8.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/05-Proportional-3CROPthumb-a53512c4.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eProportional 3\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e06\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/06-Const-Q-AsymCROP-ffd05b83.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/06-Const-Q-AsymCROPthumb-aea8b731.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eConst-Q Asym\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products \u0026amp; mixers\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e07\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/07-Const-Q-RCROP-0c891a3c.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/07-Const-Q-RCROPthumb-86bdd858.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eConst-Q Asy R\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries asymmetrical, constant Q — Like № 6 but with mirrored boost \u0026amp; cut\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e08\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/08-Const-Q-InversCROP-ed8bd8d6.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/08-Const-Q-InversCROPthumb-2a1dadb9.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eConst-Q Invers\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries symmetrical, constant Q — Similar to № 7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e09\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/09-Const-Q-IdealCROP-6b53279b.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/09-Const-Q-IdealCROPthumb-4c43ff50.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eConst-Q New\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries proportional, constant Q — Our proprietary Architectural style…try it, we know you’ll like it!\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e10\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/10-Const-Q-NewCROP-b4693988.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/10-Const-Q-NewCROPthumb-abdca7eb.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eConst-Q Ideal\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eSeries ideal \u0026amp; constant Q — Another special, similar to № 1, all three parameters (resonant ƒ, gain \u0026amp; Q) are independent, no analog relatives!\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e11\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/11-Parallel-FF-FBCROP-c74b373a.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/11-Parallel-FF-FBCROPthumb-8a93cb72.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eParallel FF-FB\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eParallel feed forward\/feedback — Complementary amplitude and phase characteristics for boost \u0026amp; cut (symmetrical), found in high end graphic EQs, 1st choice for mastering [reference Massenburg]\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003e12\u003c\/th\u003e\n\u003ctd\u003e\u003cimg alt=\"..\/assets\/images\/products\/thEQblue\/FilterCurves\/12-Parallel-LC-AsymCROP-df17eee5.jpg\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/FilterCurves\/12-Parallel-LC-AsymCROPthumb-b36d29b7.jpg\"\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003ccode\u003eParallel LC\u003c\/code\u003e\u003c\/td\u003e\n\u003ctd\u003eParallel passive LC — Tonal advantages with band interaction \u0026amp; asymmetry disadvantages, found in old or newly recreated PEQs, another choice for mastering [reference Massive Passive, Sontec]\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003eConstant Q is more for surgical applications, while proportional EQs are best when combining multiple overlapping Sections. As a point of reference, API, Pultec, Masselec and Avalon EQs are all of the proportional type.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e☞ Note that all 12 Architectures are normalized to have exactly the same bell shape at 6.02dB of boost. This allows you to easily compare the sound of each Architecture.\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003e \u003c\/h3\u003e\n\u003ch3 style=\"text-align: center;\"\u003eBetter By Design\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003ethEQblue is built on the belief that exceptional fidelity, enhanced workflows and less visual fatigue are hallmarks of better quality toolsets. Our reliance on hard science and focused research balanced by in–depth listening and customer feedback, redefines audio tools for you and your fellow hardcore media professionals worldwide.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"accordion\"\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"headingOne\"\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"accordion\"\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"headingOne\"\u003e\n\u003ch1\u003e \u003c\/h1\u003e\n\u003ch1\u003eFeatures\u003c\/h1\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"collapseOne\"\u003e\n\u003cdiv\u003ethEQblue borrows the innovative code from Algorithmix’s original PEQ Blue, and wraps it in a modern, higher fidelity environment designed to help you be more productive.\n\u003cul\u003e\n\u003cli\u003eThe most complete collection of classic analog equalizer emulations\u003c\/li\u003e\n\u003cli\u003eOne dozen different equalizer types: 10 serial \u0026amp; 2 parallel\u003c\/li\u003e\n\u003cli\u003eUp to twelve PEQ styles for every job: classic, vintage, modern and unconventional\u003c\/li\u003e\n\u003cli\u003eExclusive proprietary FiDef® processing: the audience feels their music like never before\u003c\/li\u003e\n\u003cli\u003eDifferent Q characteristics: classic, constant–Q, proportional, ideal–Q and special\u003c\/li\u003e\n\u003cli\u003eTrue high resolution emulation of analog equalizers, not modeling: no added noise, distortion or other non–linearities\u003c\/li\u003e\n\u003cli\u003eSupport for up to 384 kHz sample rate, suitable for HRA and game production and post\u003c\/li\u003e\n\u003cli\u003eExtended center frequency up to 80 kHz for filtering and correction in the ultrasonic\u003c\/li\u003e\n\u003cli\u003eBell filters in all PEQ types are normalized to look identically at +6 dB of gain and Q of 0.71, ideal for quick comparisons between types\u003c\/li\u003e\n\u003cli\u003eTwelve sections with 5 freely assignable parametric filter variants: bell, low shelf, high shelf, low cut and high cut\u003c\/li\u003e\n\u003cli\u003eExtremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24 bit quantization noise\u003c\/li\u003e\n\u003cli\u003eAdjustable Q Factor for shelving and cut filters\u003c\/li\u003e\n\u003cli\u003eMultiple low and high cut filters can be overlapped to achieve brickwall slopes\u003c\/li\u003e\n\u003cli\u003eVery low noise and distortion upsampling for analog–like filters at baseband sample rates\u003c\/li\u003e\n\u003cli\u003e80 bit internals (long double floats) virtually eliminate rounding errors\u003c\/li\u003e\n\u003cli\u003eResizable and zoomable frequency response rendering for precise adjustments\u003c\/li\u003e\n\u003cli\u003eParameter editing via numerical fields or directly on the Graph\u003c\/li\u003e\n\u003cli\u003ePresets for quick setup comparison\u003c\/li\u003e\n\u003cli\u003eSeveral instances, each with different PEQ architectures, can be opened simultaneously\u003c\/li\u003e\n\u003cli\u003eStereo\/Left–only\/Right–only\/Mono\/Diff mode for each Section for all Serial types\u003c\/li\u003e\n\u003cli\u003eBand grouping function lets you simultaneously alter ƒ, Q and gain for multiple Sections\u003c\/li\u003e\n\u003cli\u003eSix fMODES quantize the resonant ƒ setting of all Sections, including Massive Passive \u0026amp; Maselec\u003c\/li\u003e\n\u003cli\u003eKeyboard button enables you to target frequencies by ear then lock them to a Section with a click\u003c\/li\u003e\n\u003cli\u003eTunable Keyboard so that the sonogram aligns with material’s tuning\u003c\/li\u003e\n\u003cli\u003eƒ lock function when you’ve found your resonant frequency and want to alter just Q or gain\u003c\/li\u003e\n\u003cli\u003eTrue Peak metering alerts you to TP overs\u003c\/li\u003e\n\u003cli\u003eSort button rearranges Sections in order, from low to high, with a single click\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"headingThree\"\u003e\n\u003ch1\u003e \u003c\/h1\u003e\n\u003ch1\u003eApplications\u003c\/h1\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"accordion\"\u003e\n\u003cdiv\u003e\n\u003cdiv id=\"collapseThree\"\u003e\n\u003cdiv\u003eWith a very wide range of choices, you are ready to tackle any job with a subtle or obvious approach.\n\u003cul style=\"text-align: center;\"\u003e\n\u003cli\u003eTracking, mixing \u0026amp; mastering\u003c\/li\u003e\n\u003cli\u003eHRA post including ultrasonic tailoring\u003c\/li\u003e\n\u003cli\u003eBroadcast production \u0026amp; post\u003c\/li\u003e\n\u003cli\u003eGame production\u003c\/li\u003e\n\u003cli\u003eReinforcement: microphone response improvement, speaker deficiencies correction, acoustic compensation\u003c\/li\u003e\n\u003cli\u003eSound design \u0026amp; enhancement\u003c\/li\u003e\n\u003cli\u003eRestoration \u0026amp; correction of transmission losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eIron Maiden\u003c\/h3\u003e\n\u003cp\u003eThe contribution of distortion to the specific sound of a particular analog equalizer caused by its respective electronics is largely what makes it “good.” Usually though, non–linear distortion, horrific group delay and other deficiencies produce more “nasty” than “magic.” Our philosophy, for PEQ design, has always been to make filters as precise and clean as possible. For controlled distortion, we recommend high quality tape emulation, a well made pedal or other carefully applied studio magic.\u003c\/p\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eComprehensive\u003c\/h3\u003e\n\u003cp\u003eWith thEQblue, you can simultaneously call up twelve Sections from one of the twelve Architectural styles available. For each Section, choose from nine freely assignable filter topologies, including bell, first and second order low or high shelf along with first and second order low or high cut. The most significant filter types bearing the equalizer name are bells or peaking filters. Set to a particular Q, different bells change their bandwidth depending on the amount of boost or cut making comparison difficult between Architectures.\u003c\/p\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eHow to Compare Architectures…\u003c\/h3\u003e\n\u003cp\u003eIn order to make meaningful comparisons of different Architectures you must be aware of two factors:\u003cbr\u003e1. All 12 equalizer Architectures are normalized to have exactly the same bell shape for 6dB of boost. If you use just one bell filter at +6dB, you will get the same audible result for all types. This normalization of the Q or Quality Factor is a unique MAAT feature, and distinguishes our typologies from their analog antecedents because many of the originals have undefined Q definitions due to the limitation of analog technology. The normalization allows you to compare the different EQ Architectures in thEQblue with ease.\u003cbr\u003e2. A single minimal phase bell filter with identical shape will sound the same regardless of Architecture. The difference between styles becomes obvious when you have activated more bells and other filters so that they start to interact with each other. This will reveal the different characteristics of each Architecture, in terms of phase interaction and different gain and Q relationships.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cimg alt=\"thEQblue\" src=\"https:\/\/www.maat.digital\/assets\/images\/products\/thEQblue\/Filter-Types-fdb843bd.png\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch3\u003eClassics All\u003c\/h3\u003e\n\u003cp\u003eThe Classic Symmetrical is the most popular bell shape used in many mixers and outboard equalizers. It is almost “constant Q.” That is, as resonant frequency changes, the bandwidth changes, widening as the frequency goes from low to high to maintain a constant ratio of center frequency divided by bandwidth. Constant Q is roughly the way our hearing perceives an EQ’s effect.\u003c\/p\u003e\n\u003cp\u003eThe three Proportional PEQs emulate bell characteristics which change their bandwidth proportional to their boost or cut. Many think they behave more musically as you don’t have to correct the Q after every amplitude change. There are also three other constant–Q equalizers available, with characteristics similar to some classic American brands.\u003c\/p\u003e\n\u003cp\u003ethEQblue also offers two proprietary constant–Q varieties. The first, Constant-Q Ideal, is a perfect version of the Classic Symmetrical equalizer, having exactly the same bandwidth at any amplitude within its range of Q. This is measured 3 dB below maximum amplitude at and above +6 dB of boost. Such PEQs are impossible to implement in the analog domain, hence the “ideal” name. Another specialty variety is the Constant-Q New, which follows a new Q definition. It preserves exactly the same bandwidth at the half of the maximum amplitude for all amplitude values. Unlike the classic Q definition, this includes the range below 6 dB of boost. Due to its amplitude\/bandwidth dependency in terms of a classic Q definition, this new kind of constant-Q PEQ could also be thought of as a member of the proportional group.\u003c\/p\u003e\n\u003cp\u003eFinally we emulated two vintage parallel equalizers. With parallel construction, the main input feeds every filter in parallel, with each filter’s output being summed together for the final composite output. With a series implementation, filters are cascaded; each fed from the output of the previous filter. Unlike a series parametric equalizer (almost all paramets are serial), parallel–connected filters combine or cascade differently. They also behave differently in terms of phase. Their special interactive behavior between bands is offset by a pleasing sonic character. Our Parallel LC emulates old skool parallel passive PEQ circuitry built with inductors and capacitors. The Parallel Feed–Forward\/Feedback style emulates the feed–forward\/feed–back designs still popular in low noise analog graphic EQs. While the feed–forward path is trivial to implement, the feedback path is impossible to implement in traditional digital signal processing, because of the need for so called “delay–free” feedback loops. In thEQblue, we apply a unique and very elaborate technique for true emulation of delay-free feedback. The result is a characteristic sound and perfectly complementary filters for boost and cut.\u003c\/p\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eThe Filter Library\u003c\/h3\u003e\n\u003cp\u003eIn thEQblue, not only are various bell–shaped filters available but also different kinds of shelving filters. Nine of the series equalizers use a special shelving design characterized by a cut–off frequency defined in the middle of the transition region. We found these filter definitions more intuitive than the classical “–3 dB below maximum.” The old skool definition is only used in the Classic Asymmetrical Architecture in order to conform to its analog antecedent. All 2nd order shelving filters have a Q adjustment to emulate vintage characteristics, with their inherent and specific bumps at higher slopes. Also, the parallel equalizers are equipped with respective shelving filters shapes that are typical of old parallel PEQs. They also have interacting bands as did their analog predecessors.\u003cbr\u003eEvery complex PEQ is equipped with cut filters. With thEQblue, each of the twelve equalizer Architectures can provide 1st and 2nd order cuts. The 2nd order filters have a Q adjustment to create a resonant filter response, and can be combined to provide very steep “brickwall” slopes by cascading several Sections.\u003c\/p\u003e\n\u003ch3\u003e \u003c\/h3\u003e\n\u003ch3\u003eBest of Both Worlds\u003c\/h3\u003e\n\u003cp\u003ethEQblue is a creative equalizer tool combining the best of both the analog and digital domains. To avoid bell filter asymmetry at high frequencies for baseband sample rates, typical of many digital equalizers, we have applied reference–quality upsampling, which automatically kicks in for 44.1 or 48 kHz. By using proprietary filter algorithms, we have achieved a huge dynamic range, as well as extremely low noise and distortion. This yields unparalleled sonic purity, impossible for any analog circuitry.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"compare\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch2 style=\"text-align: center;\"\u003e \u003c\/h2\u003e\n\u003ch2 style=\"text-align: center;\"\u003eMAAT Minimum Phase EQ Plug–Ins\u003c\/h2\u003e\n\u003ch3 style=\"text-align: center;\"\u003e \u003c\/h3\u003e\n\u003ch3 style=\"text-align: center;\"\u003eFeature Comparison\u003c\/h3\u003e\n\u003ctable align=\"center\" style=\"margin-left: auto; margin-right: auto; width: 690px;\"\u003e\n\u003cthead\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003ethEQblue6\u003c\/th\u003e\n\u003cth scope=\"col\"\u003ethEQblue12\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eSantaCruzEQ6\u003c\/th\u003e\n\u003cth scope=\"col\"\u003eSantaCruzEQ12\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003cth scope=\"col\"\u003eFeatures\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e    ⊹ Notes ⊹\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003cth scope=\"col\"\u003e\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eArchitectures§\u003c\/th\u003e\n\u003ctd\u003eTwelve architectures: №s 1-10, serial type; №s 11-12, parallel type\u003c\/td\u003e\n\u003ctd\u003e6 total; №s 1-6\u003c\/td\u003e\n\u003ctd\u003e12 total; №s 1-12\u003c\/td\u003e\n\u003ctd\u003e6 total; №s 1-6\u003c\/td\u003e\n\u003ctd\u003e12 total; №s 1-12\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eSections\u003c\/th\u003e\n\u003ctd\u003eFive topologies available: 1st \u0026amp; 2nd order, variable slope cut \u0026amp; shelf; parametric bell\u003c\/td\u003e\n\u003ctd\u003e12 total; all five topologies\u003c\/td\u003e\n\u003ctd\u003e12 total; all five topologies\u003c\/td\u003e\n\u003ctd\u003e6 total; #1 \u0026amp; 6 are cut \u0026amp; shelf only; #2 - 5, all five topologies\u003c\/td\u003e\n\u003ctd\u003e6 total; #1 \u0026amp; 6 are cut \u0026amp; shelf only; #2 - 5, all five topologies\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eMetering\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eSignal present + wide range \u0026amp; numeric TP\u003c\/td\u003e\n\u003ctd\u003eSignal present + wide range \u0026amp; numeric TP\u003c\/td\u003e\n\u003ctd\u003eSignal present\u003c\/td\u003e\n\u003ctd\u003eSignal present\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003ePanorama Control‡\u003c\/th\u003e\n\u003ctd\u003eLeft–only, R–only, mono, stereo, L-R\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003ctd\u003eNo (stereo–only)\u003c\/td\u003e\n\u003ctd\u003eNo (stereo–only)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eSpectrogram\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eYes; can be disabled\u003c\/td\u003e\n\u003ctd\u003eYes; can be disabled\u003c\/td\u003e\n\u003ctd\u003eNo\u003c\/td\u003e\n\u003ctd\u003eNo\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eTuning\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eYes; ƒ–snapping\u003c\/td\u003e\n\u003ctd\u003eYes; ƒ–snapping\u003c\/td\u003e\n\u003ctd\u003eNo\u003c\/td\u003e\n\u003ctd\u003eNo\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003cth scope=\"row\"\u003eUpgrades\u003c\/th\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eYes; to thEQblue12 for additional cost\u003c\/td\u003e\n\u003ctd\u003eNo\u003c\/td\u003e\n\u003ctd\u003eYes; to SantaCruzEQ12 for additional cost\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNo upgrade path to thEQblue\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch1\u003e \u003c\/h1\u003e\n\u003ch1\u003eFeatures\u003c\/h1\u003e\n\u003cul\u003e\n\u003cli\u003eFully parametric minimum phase EQ\u003c\/li\u003e\n\u003cli\u003eUp to twelve unique idealized Architectures, derived from analog circuits\u003c\/li\u003e\n\u003cli\u003ePanorama control targets left–only, right–only, mono–only, L-R–only, or stereo\u003c\/li\u003e\n\u003cli\u003eOptional live spectrogram\u003c\/li\u003e\n\u003cli\u003eAutoGain for effortless A\/B comparisons\u003c\/li\u003e\n\u003cli\u003eVariable resonant ƒ tunings for common Western scales\u003c\/li\u003e\n\u003cli\u003eInbuilt tone generator for quick spectral navigation\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch1\u003e \u003c\/h1\u003e\n\u003ch1\u003eSupporting\u003c\/h1\u003e\n\u003cul\u003e\n\u003cli\u003eAAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3\u003c\/li\u003e\n\u003cli\u003eSample rates from 44.1 to 384 kHz\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003ch1\u003e \u003c\/h1\u003e\n\u003ch1\u003eVST\u003c\/h1\u003e\n\u003cp\u003eVST PlugIn Interface Technology by Steinberg Media Technologies GmbH\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch1\u003e \u003c\/h1\u003e\n\u003ch1\u003eLicense\u003c\/h1\u003e\n\u003cul\u003e\n\u003cli\u003ePerpetual: One–Time Buyout…\u003cbr\u003e  — thEQblue6 [Architectures 1-6]\u003cbr\u003e  — thEQblue12 [Architectures 1-12]\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch1 style=\"text-align: center;\"\u003e \u003c\/h1\u003e\n\u003ch1 style=\"text-align: center;\"\u003eRequirements\u003c\/h1\u003e\n\u003cul\u003e\n\u003cli style=\"text-align: center;\"\u003emacOS 10.9 and newer, 64 bit only\u003c\/li\u003e\n\u003cli style=\"text-align: center;\"\u003eWindows 7 and newer, 32 \u0026amp; 64 bit\u003c\/li\u003e\n\u003cli style=\"text-align: center;\"\u003eOpenGL 3.2 or newer\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003ch1 style=\"text-align: center;\"\u003e \u003c\/h1\u003e\u003ch1 style=\"text-align: center;\"\u003eRegistration Information\u003c\/h1\u003e\u003cp style=\"text-align: center;\"\u003eProduct Key: https:\/\/www.maat.digital\/support\/#installers  \u003c\/p\u003e","brand":"MAAT Labs","offers":[{"title":"Default Title","offer_id":53052757311772,"sku":"1414-1002","price":399.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/1983\/4140\/files\/maatlabstheeqblue12new.jpg?v=1758873933","url":"https:\/\/jrrshop-3235.myshopify.com\/products\/theqblue12","provider":"jrrshop","version":"1.0","type":"link"}