MAAT SantaCruzEQ12 Graphic Equalizer Plug-In with 12 Analog Modes - Electronic Delivery

MAAT SantaCruzEQ12 is a complete collection of classic equalizer architectures, 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, SantaCruzEQ is a sonic sandbox for every mixing and mastering engineer to mess around in.

Customers of the original LinearPhase PEQ Red and Orange asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, MAAT's Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledge base 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.

MAAT 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, SantaCruzEQ has no noise, distortion or other secondary effects inherited from analog.

BFF

The 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.

For a century, engineers have developed countless equalizers. A few became legend, the 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.

CHOICE IS GOOD

In order to give you a choice of features and price, SantaCruzEQ is available in two versions. SantaCruzEQ12 includes twelve architectures:

• Classic Sym: Series symmetrical, almost constant Q bell — common mix desk & outboard gear Architecture, try on “surgical” applications
• Classic Asym: Series asymmetrical — Old Skool, boost like № 1 but with narrower cut
• Proportional 1Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at <6dB and narrower at >6dB
• Proportional 2: Series proportional — Like № 3 but with bigger changes at large gain settings > ±6dB, try on vocals
• Proportional 3: Series proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB
• Const-Q Asym: Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products & mixers
• Const-Q Asy R: Series asymmetrical, constant Q — Like № 6 but with mirrored boost & cut
• Const-Q Invers: Series symmetrical, constant Q — Similar to № 7
• Const-Q New: Series proportional, constant Q — MAAT's special Architecture
• Const-Q Ideal: Series ideal & constant Q — Another special, similar to № 1, all three parameters (resonant ƒ, gain & Q) are independent, no analog relatives!
• Parallel FF-FB: Parallel feed forward/feedback — Complementary amplitude and phase characteristics for boost & cut (symmetrical), found in high end graphic EQs, 1st choice for mastering [reference Massenburg]
• Parallel LC: Parallel passive LC — Tonal advantages with band interaction & asymmetry disadvantages, found in old or newly recreated PEQs, another choice for mastering [reference Massive Passive, Sontec]

FEATURES:

• The most complete collection of classic analog equalizer emulations
• Twelve different equalizer types; in total, 10 serial & 2 parallel
• Up to 12 PEQ styles for every job: classic, vintage, modern and unconventional
• Different Q characteristics: classic, constant–Q, proportional, ideal–Q and special
• True high resolution emulation of analog equalizers, not modeling: no added noise, distortion or other non–linearities
• Support for up to 384 kHz sample rate, suitable for HRA and game production and post
• Extended center frequency up to 80 kHz for filtering and correction in the ultrasonic
• Bell filters in all PEQ types are normalized to look identically at +6.02 dB of gain and Q of 0.71, ideal for quick comparisons between types
• Six Sections total, with four having freely assignable parametric filter variants: bell; multi–order high & low shelf; multi–order high & low cut
• “Outer” Sections, the first and last, offer multi–order high & low shelf and multi–order high & low cut
• Extremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24 bit quantization noise
• Adjustable Q Factor for bell filters
• Adjustable slope for shelving and cut filters
• Multiple low and high cut filters can be overlapped to achieve brickwall slopes
• Very low noise and distortion upsampling for analog–like filters at baseband sample rates
• Insane 80 bit “long double” precision internals virtually eliminate rounding errors and resulting distortion
• Resizable and zoomable frequency response graphing for precise adjustments
• Parameter editing via numerical fields or directly on the Graph
• Presets for quick setup comparison
• Several instances, each with different PEQ architectures, can be opened simultaneously
• Band grouping function lets you simultaneously alter ƒ, Q and gain for multiple Sections
• ƒ lock function when you’ve found your resonant frequency and want to alter just Q or gain
• True Peak metering alerts you to TP overs
• Sort button rearranges Sections in order, from low to high ƒ, with a single click

SYSTEM REQUIREMENTS:

• MacOS 10.9 Mavericks and above
• Windows 7 and above (32 and 64-bit)
• Intel or AMD CPU
• Plug-in formats: AAX Native, AU, VST2, and VST3