One track vanishes in the mix. You open its EQ.

Every track is
right there.

Every Make Things EQ in your session is listed beside the curve, with its name, its band count and a live picture of its curve and spectrum.

All your session’s EQs.
Live.
In one window.

Click one and this window controls it, with automation and undo going to that EQ. Put any other EQ’s curve or spectrum behind the one you’re editing.

• Overlay curves
• Overlay spectra
• Solo · Mute · Bypass
• Your names

Turn on masking.

There’s
your fight.

Pick the tracks to check against. The spectrum takes each track’s colour wherever that track is louder than this one. Compare all of it, only the hits, or only the sustain.

Now the track in the way.

Any band can listen
to any track.

Open a band’s Dynamics, Transient or Drive and pick another EQ from the list, before or after that EQ’s own processing. No sidechain routing, and each band can pick its own.

Duck one band.
Only while the other plays.

Set a threshold and a range. When the other track crosses the threshold, this one band dips, then recovers at the release you set. The rest of the track doesn’t move.

Same trick, down low.

Duck the lows.
Only on the hits.

Put a dynamic band on one track’s low end and let it listen to another. Only that band moves, so the rest of the track keeps its level and tone.

• Each band its own key
• Pre or Post
• Another band
• Hits
• Drive

Works between EQs in the same host process.

It’s out front now. And some notes bite.

Don’t dull every note.
Catch what rings.

Static holds its gain. Dynamic moves the whole band with its level. Spectral lets each frequency follow its own level, so only what rings moves. One click switches a band.

On to the next track. It’s boxy, but you can’t lose the attack.

One band.
Two gains.

A band can split its sound into the hit and everything after it, with a gain for each. Lift the attack and pull down the ring at the same frequency.

One for the hit.
One for the rest.

Transient and Sustain are on every band, and a lane shows you the hits. The detector can listen to this band, another band, the whole input or another EQ.

A little air on top?

Type it.

hs 10k +2, Return. The band plays on the curve as you type. Use a type, a frequency or note, a gain and a Q in any order, like lc 80 48 or notch A1.

Clean. Maybe too clean.

Drive one band.
Leave the rest.

Only what the band covers goes in, and only the distortion comes back, so the band’s own level stays at its gain. Up to 36 dB, with its own Tone and Mix.

• Drive
• Tone
• Mix
• Bias
• Apply to
• Follows

Six ways to
drive a band.

Round it off, fold it back or crush it. Bias adds even harmonics, Spread drives left and right differently, and Dynamics undoes the squash and keeps the harmonics.

• Tube
• Tape
• Fuzz
• Fold
• Rectify
• Crush

Pictures show what each shape does as you change it.

Not sure what it’s adding?

Hold to hear
it alone.

Hold the power button on a band’s Dynamics, Transient, Drive or Feedback, and you hear only what it changes. Let go and the mix is back. A click still turns it on or off.

Or let it ring.

Feedback.
Inside the band.

Tuned, the band rings at a pitch set by its frequency. In ms, it echoes on just that band. The loop runs through the band’s own filter and a soft clip, so it never runs away.

Then place
the change.

Pan and Width move only what the band adds or takes away, so the rest of the track stays put. A band can also run on Stereo, Left, Right, Mid or Side.

Then the whole sound.

Eight
characters.

A final stage after the bands: Clean, Subtle, Warm, Tape, Tube, Fuzz, Fold or Crush. Up to 36 dB of drive, on everything, only the hits, or only the rest.

It all sits right now. But it sits still.

Make it move.

21 modulators, from LFOs and envelope followers to step sequencers and XY pads, up to 16 on one EQ. Drag one onto a band’s frequency, gain, Q, threshold, drive or feedback, or onto another modulator.

Then the message: “Can we get this in 7.1.4?”

Same EQ.
Up to 16 channels.

Every band picks a lane: stereo, left, right, mid or side. Each lane draws its own curve, so you can see what each part of the sound is getting.

• Stereo
• Left · Right
• Mid · Side

Every speaker.
One curve.

On a surround track, pick a band’s speakers on a map of the room, or a group such as the tops. Shared and Differences work on what they have in common, or what sets them apart.

• 5.1
• 7.1
• 5.1.4
• 7.1.4
• up to 16 ch

Surround in Logic and REAPER; up to 16 numbered channels in REAPER.