UnderTone Audio UTEQ500 500 Series Equalizer

Undertone Audio’s new UTEQ500 is a tonal chameleon. Equipped with three overlapping bands of ultra-flexible Super Parametric EQ, this little box can recreate the signature curves of pretty much any other EQ, from the “undershoot” effect of classic Neve shelf EQs to the unique Mäag “Air Band.” 

But its usefulness isn’t limited to recreating the classics. By combining boosts, cuts, and notches; blending between peak and shelf shapes; and using the full range of Q values, the UTEQ500 can handle any tone-shaping task you put it to. From hyping up already great-sounding tracks to surgically treating issues like resonance and sibilance, the UTEQ500 is the rare EQ that can really do it all.

A Look at The UTEQ500

The main feature that distinguishes the UTEQ500 from other three-band parametric EQs is its continuously variable Shape control (found on top of each band’s Gain knob). Adjusting the Shape blends between bell and shelf curves, including unique in-between shapes similar to resonant filters. The Q control (stacked above the Frequency knobs) features a generous range of .3–10 Q, and together these controls make it possible to create almost any curve you can imagine.

All three bands can be switched between Boost, Cut, and Notch modes, and the Gain controls provide a range of +/- 10 dB (although Notch mode can almost completely cancel out the selected frequency). Each band overlaps the next, and the Mid band can be switched from Low (90 Hz–1.4 kHz) to Hi (390 Hz–6 kHz) modes, making it possible to combine boosts and cuts for complex tone shaping. The UTEQ500 even features a -10 dB pad to compensate for extreme boosts.

It’s definitely impressive on paper, but there’s only one way to really assess an EQ: with your ears. 

UnderTone Audio UTEQ500 Audio Samples

Vintage King’s Nikhil Suresh patched in the UTEQ500 on a variety of instrument and vocal tracks, playing with the controls to bring out the most flattering parts of the tone. Click through the samples below to hear the UTEQ in action.

Vocals

Boosting at 1 and 5 kHz with low Q values brought out the edge in the consonants to help this energetic lead vocal track cut through the mix. The UTEQ’s precise controls make it possible to do aggressive high-mid boosts like this without magnifying any unwanted sibilance in the treble range.

Vocals (no EQ)

Vocals (UTEQ500)

High band: +4-5 dB at 5 kHz (Wide Q)

Mid band: +2-3 dB at 1 kHz (Wide Q)

Electric Guitar

To push this squealing guitar solo over the edge, Nikhil began with a wide boost at 4 kHz to enhance the rich harmonics, followed by a steep and narrow notch at 4.5 kHz to prevent it from becoming too harsh and piercing. A moderate boost at 220 Hz reinforced the body of the tone to keep it sounding full and weighty.

Guitar (no EQ)

Guitar (UTEQ500)

High band: -10 dB at 4.5 kHz (Notch)

Mid band: +3-4 dB at 4 kHz (Wide Q)

Low band: +2-3 dB at 220 Hz (Wide Q)

Drum Room Mic

Dual wide-bandwidth boosts at 4 and 5 kHz added some much-needed life to the cymbals on this roomy but dark-sounding drum track. To compensate for the increased brightness, Nikhil gave the track a gentler boost at 110 Hz to reinforce the hefty kick drum without muddying its tone.

Drums (no EQ)

Drums (UTEQ500)

High band: +6 dB at 5 kHz (Wide Q)

Mid band: +6 dB at 4 kHz (Wide Q)

Low band: +3-4 dB at 110 Hz (Wide Q)

Electric Bass

To make this funky, melodic bass track cut through a dense mix, Nikhil gave it a generous boost at 3 kHz to enhance the articulation of the fingers and strings. A smaller boost at 110 Hz reinforced the fundamental notes, keeping the bass from sounding too thin.

Bass (no EQ)

Bass (UTEQ500)

Mid band: +6 dB at 3 kHz (Wide Q)

Low band: +2-3 dB at 110 Hz (Wide Q)

Electric Piano

To make this clean and polished Rhodes piano track a little more interesting, Nikhil dialed in a subtle boost at 2 kHz with a wide Q to highlight the twinkly, metallic sound of the tines. A more drastic boost at 9 kHz exaggerates the natural noise floor of the instrument for a purposely lo-fi sound.

Electric Piano (no EQ)

Electric Piano (UTEQ500)

High band: +4-5 dB at 9 kHz (Wide Q)

Mid band: +2-3 dB at 2 kHz (Wide Q)

Final Thoughts

The UTEQ500 is an extremely flexible three-band parametric EQ that really shines in the midrange, especially when overlapping multiple broad-Q boosts. As long as you put in the time to learn the (fairly dense) controls, you can unlock an endless array of tonal possibilities that will never fail you in the mix.

On these particular tracks, boosting proved more useful than cutting, but the Notch setting came in handy for making sure that those boosts didn’t accentuate any unwanted frequencies. Overlapping the Mid and High bands allowed Nikhil to add the perfect dose of presence to each track, and the Low band was perfect for balancing those boosts with extra low-end weight in just the right places.

If you’re an EQ enthusiast with an ear for subtlety and an appreciation for great engineering, the UTEQ will serve you well—as long as you don’t mind spending a fair amount of tweaking. To learn more about everything the UTEQ500 is capable of, check out Undertone Audio’s Deep Dive video.

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UnderToneAudio UTEQ500 500 Series Parametric Equalizer
UnderToneAudio UTEQ500 500 Series Parametric Equalizer
$ 1,499 .99
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