EQ

Parameters

Parametric multiband equalizer — one aggregated box per chain, each band an independent entry (up to 24).

Controls and display

The surface: the plot is the whole device — no panels, no knobs, no wells. Three kinds of thing live on it.

Nodes. Each band is a numbered dot in its own colour. Drag it for frequency and gain, wheel over it for Q, double-click it to remove it, right-click it for shape, slope, channel and bypass. You can grab a node from further away than it is drawn, so the node draws a faint rim at exactly that grab distance and the cursor turns into a hand the moment you are inside it — the reach is the same as it always was, it just says where it ends now (the Dynamic EQ's nodes reach further still, and mark it the same way).

While you are dragging a node, nothing else on the face lights: the foot words and readouts your pointer crosses on the way past the bottom of the plot stay dark, because the gesture owns the pointer. The band you are holding is the only one lit: its curve is filled in its colour while the others fall back to ghost lines, and one bright white curve is the EQ's total response.

Readouts. Every number sits beside its own node in that band's colour — the frequency above, the gain below (a high or low cut reads its slope there instead). The selected band adds a third line whose cells are themselves the controls: drag Q up and down, click PEAK for the shape list, click ST to step through stereo, mid, side, left and right. Drag the gain line to change gain, or double-click it for 0 dB. Where two bands sit too close to print both, the one you have selected keeps its numbers.

Words. The line along the foot carries the device-wide controls, lit when on and dull grey when off: ANALYZER shows or hides the spectrum, HOLD freezes it and labels its peaks with note names, PIANO puts a keyboard along the bottom, M/S shows the side channel, REF and MATCH compare against a loaded reference, SCALE drags every band's gain at once and springs back on release, and OUT drags the output trim. A word only appears when it has something to act on: no side channel on a mono track, no REF or MATCH without a reference loaded — and no word the foot has no room for.

In the narrow device dock only REF fits; MATCH, its AMOUNT and APPLY appear once the pane is wide enough to hold them, and MATCH is never offered without the APPLY that accepts it. Open the device in its focus pane to match a reference.

Adding a band: hover empty plot and a dashed ghost node follows the cursor, reading the frequency it would sit at, its note name, and the gain it would take. Double-click to drop it. Mid, side, left and right bands draw as their own curves, so each affinity reads as its own shape.

The chain's small box shows the same face at a smaller size, with fewer numbers and no keyboard; double-click there opens the full pane instead of adding a band. The agent's mix runs keep their own EQ-boost cap of +6 dB — your hands get the full ±12.

Listening to one band: hold the SOLO cell on the selected band's third line, or Command-click and hold its node, and you hear only that band's slice of the audio while the plot dims outside the same window. The window is the band's own frequency and Q, so widening Q widens what you hear; Command-dragging moves the node and the window together, which is how you hunt a resonance by ear. It stops the moment you let go. This is a monitoring aid only: it is never part of the chain and never reaches an export.

Working in notes: the PIANO word on the foot puts a keyboard along the bottom of the plot and a note name beside every band, so a boost at 700 Hz reads as F4 rather than a number. The selected band also shows how far off that note it sits, in cents. Hold Shift while dragging a band to land it exactly on a note. HOLD freezes the spectrum and names the peaks it finds, lowest one highlighted, which is how you put a name to a resonance you can hear but cannot place.

Seeing the sides: the M/S word shows the side channel's own spectrum beside the mid's, and draws any band set to Side as a dashed curve, so you can see what is actually out there before you touch it. Bands set to something other than Stereo carry their letter next to the frequency wherever they are drawn. A mono track has no side channel, so the word is not offered there.

Matching a reference: once you have loaded a reference track, the foot gains REF and MATCH. REF shows how far each band of your mix sits from the reference, drawn in steps because the comparison is per band rather than a curve. MATCH proposes the correction that would close the gap: a dashed curve and a ghost band wherever you are actually off, skipping the bands that already agree. AMT takes anywhere from none to half again of that correction, and APPLY turns the ghosts into ordinary bands you can then drag, retune or delete like any others. Nothing changes until you press Apply.

When the agent moves a band: its node lights with an amber halo that fades over a couple of seconds, its gain reads the change in amber, and a line at the top left says what happened — which band, to what, and by how much — with UNDO beside it. That undo takes back the agent's move specifically, and declines once you have edited something yourself. Touch the band and it is yours: the halo and the line go immediately.