A stunning overhaul of SSL’s bus compressor, the Bus+ goes much further than most imitators without sophistication undermining ease of use.
This versatile input channel gives you the classic sound of tubes, transformers and inductors.
Hungarian company Gainlab impressed us with their Dictator compressor, so we were looking forward to putting their EQ through its paces.
This powerful new EQ plug-in aims to encourage you to make better mix decisions.
An EQ that gives you separate control over the transient and sustain portions could be more useful than you think!
The right EQ settings can make a mix — and the wrong ones can make a mess. Our in‑depth guide will help you get more from this all‑important tool.
The audio files available on this page accompany my review of the...
H2 aim to put the legendary sound of Olympic Studios in your 500‑series rack.
Created in partnership with Empirical Labs, these two emulations form a characterful yet capable channel strip.
Antelope Audio recreate a cult mastering equaliser for their unique AFX platform.
This refreshed range boasts new features and improved specs — but the same great value for money.
PMI breathe new life into a classic dynamic EQ design.
We test this stylish take on a classic EQ design.
The EQ2 offers quality graphic and parametric EQ, with full MIDI capabilities, all delivered in a robust pedal. What's not to like?
EQ will make or break your master. It's the single most important factor in mastering, once you've decided the loudness...
This Brainworx EQ is inspired by esoteric mastering hardware.
Warmth is the name of the game for these three EQs, which boast modelled Marinair transformers and a range of different virtual vacuum tubes.
MAAT's mastering equaliser models the characteristics of 12 analogue EQ designs, but leaves out their real-world drawbacks!
How close do these modelling plug‑ins sound to the real thing?
Two channels of Pultec-style EQ in a 500‑series module would be enough for most manufacturers. But not for Wes...
I've always advised my students to set their high-pass filter slope at a steep setting of 48dB per octave to reduce boominess. Is this the best advice to give my students, who are very much at the beginner stage?
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