Twelve beautiful analog Architectures that will ramp up your reputation.
Yes, Your Blueness
Why develop yet one more parametric equalizer (PEQ) when there’s already hundreds on the market? The answer is simple…’Cuz there was room for improvement! It was customers of the original LinearPhase PEQ Red and Orange who asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, our Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledgebase 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.
We know you’ll enjoy our dozen variations of blueness, and will find your favorite sound. We’ve also added subtle but important touches, like the ability to “group” all Sections and make a global gain change without disturbing the relationship of individual Sections.
The Twelve
We wanted to lift analog to another level, so we 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.
SantaCruzEQ is a 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 an affordable, light weight sonic sandbox for every mixing and mastering engineer to play in.
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, our 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. As Spidey (and Voltaire) always reminds us though, “With great power comes great responsibility.” When designed by a clueless or cost–constrained software engineer, it can be your greatest sonic enemy.
Choice Is Good
In order to give you a choice of features and price, SantaCruzEQ is available in two versions: • SantaCruzEQ6, with 6 Architectures; No.s 1 through 6; • SantaCruzEQ12, with all 12 Architectures
Iron Maiden
The contribution of distortion to the specific sound of a particular analog equalizer caused by its respective electronics is largely what makes it “good.” Usually though, non–linear distortion, horrific group delay and other deficiencies produce more “nasty” than “magic.” Our philosophy, for PEQ design, has always been to make filters as precise and clean as possible. For controlled distortion, we recommend high quality tape emulation, a well made pedal or other carefully applied studio magic.
Comprehensive
With SantaCruzEQ, you can simultaneously call up six Sections from one of the twelve Architectural styles available. For four of those Sections, choose from nine freely assignable filter topologies, including bell, first and second order low or high shelf along with first and second order low or high cut. The most significant filter types bearing the equalizer name are bells or peaking filters. Set to a particular Q, different bells change their bandwidth depending on the amount of boost or cut making comparison difficult between Architectures.
How to Compare Architectures…
In order to make meaningful comparisons of different Architectures you must be aware of two factors:
1. All 12 equalizer Architectures are normalized to have exactly the same bell shape for 6dB of boost. If you use just one bell filter at +6dB, you will get the same audible result for all types. This normalization of the Q or Quality Factor is a unique MAAT feature, and distinguishes our typologies from their analog antecedents because many of the originals have undefined Q definitions due to the limitation of analog technology. The normalization allows you to compare the different EQ Architectures in SantaCruzEQ with ease.
2. A single minimal phase bell filter with identical shape will sound the same regardless of Architecture. The difference between styles becomes obvious when you have activated more bells and other filters so that they start to interact with each other. This will reveal the different characteristics of each Architecture, in terms of phase interaction and different gain and Q relationships.
Learn More
For much more information on SantaCruzEQ and its Architectures, please visit .
requirements:
mac:
ram: 2
version: macOS 10.9 and newer
additional_requirements: OpenGL 3.2 or newer
internet required: yes
support:
64_bit
plugins:
VST-2
VST-3
AU
AAX
windows:
ram: 2
version: Windows 7 and newer
additional_requirements: OpenGL 3.2 or newer
internet required: yes
support:
32_bit
64_bit
plugins:
VST-2
VST-3
AAX
trial: yes
notes:
feature: One dozen different equalizer types: 10 serial & 2 parallel
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 dB of gain and Q of 0.71, ideal for quick comparisons between types
Extremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24 bit quantization noise
Adjustable Q Factor 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
80 bit internals (long double floats) virtually eliminate rounding errors
Resizable and zoomable frequency response rendering for precise adjustments
Parameter editing via numerical fields or directly on the Graph
Presets with Undo/Redo 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, with a single click
licensing methods:
computer
cloud
platforms: mac
windows
1414-1008
