AudioScape EQP-2A

AudioScape’s new Pultec‑inspired rack is a no‑compromise stereo take on the classic passive equaliser.

Arguably the most famous of all analogue equalisers, the Pultec EQP‑1A is a passive, valve‑amplified design that was also among the first EQs to see regular use in the music industry. The earliest version was introduced as the EQP‑1 in 1953, and variants of it remained in production until 1981. Familiar as it now is to many of us (thanks in no small part to the number of DAW plug‑in emulations of it), it has to be said that this two‑band EQ is a pretty quirky design. Thankfully, the quirks proved very useful, most notably the so‑called ‘Pultec trick’ whereby dialling in LF shelf attenuation and an equal shelving boost at the same frequency doesn’t simply cancel out, but rather creates a slight dip just above the boost, which makes it quick and easy to dial in meaty low‑end boosts without things becoming too ‘flabby’ or ‘muddy’. It’s far from a one‑trick pony, though, and also contributing to its popularity are a pleasing harmonic distortion that’s introduced even with no cuts or boosts applied, and the fact that even the tightest of bells in the upper band are pretty wide.

It’s actually pretty hard to dial in a bad result accidentally, then, and the EQP‑1A has proved enduringly popular among recording, mixing and mastering engineers. When original units occasionally come up on the second‑hand market, they fetch eye‑watering sums, so it’s hardly surprising that several companies make products based on this vintage design. Some attempt, as far as possible, to be no‑expense‑spared clones, while others are more loosely based on it, aiming either to embellish it with greater functionality or to make the technology available for a lower price.

Two Cool

Based in Florida, USA, AudioScape are one of the more recent companies to base an outboard EQ on this vintage design, and they actually offer a few variations. All of them aim to deliver the Pultec’s functionality and sound at a lower price... but not too low! While their prices are competitive, they’re far from being in corner‑cutting or bargain‑basement territory. These are serious bits of professional kit, handmade by a small team in the US, using high‑quality components, including new‑old‑stock valves. Under review here is their EQP‑2A which, unlike most EQP‑1A‑inspired gear, is a stereo device, with a single set of controls operating a pair of well‑matched channels.

Now, it’s fair to say that there are some disadvantages to a dedicated stereo configuration: you can’t, for example, use it to EQ two mono signals, such as you’d need to do if you wished to treat the Mid and Sides components differently. Hence, AudioScape recommend matched pairs of their EQP‑A for multi‑mono applications.

There are also a lot of pros though! The single control set means you can make broad‑brush tonal changes to stereo material really quickly, without worrying about matching channel settings. It hogs only half the rack space that two mono versions would, and the cost per channel comes down too, with no sacrifice in terms of sonic performance. All this makes the EQP‑2A a particularly appealing prospect for stereo‑bus processing — though you can of course still use a single channel to process a mono source. You’d have no problem tracking a vocal through one channel, and then using the same device later as your stereo mix bus EQ.

I have to say, my first impressions were very positive. The hardware has an air of solidity and quality about it. The 3U steel faceplate is nicely finished in battleship grey, and has no rough or sharp edges. Nor is there any flimsiness...