LinearPhase PEQ Red

The LinearPhase PEQ Red DirectX/VST PlugIn is unique in the world of audio components. Almost all parametric equalizers being used are implemented with filters that accomplish phase shift, e.g.: the original signal is remixed with its phase-shifted version. Because the amount of the phase shift is frequency dependent some cancellation or amplification at certain desired frequencies takes place. It works, but with a major disadvantage--the different signal components are spread all over time, so that the time relationship between harmonics in the processed signal is heavily affected. The result is that a nice sharp bass drum becomes slurred and muddy, and vocal tracks become strident or brittle. Algorithmix is proud to offer you a true remedy against difficult equalizing tasks--the LinearPhase PEQ Red PlugIn, a linear-phase equalizer which can be handled exactly like its classic predecessors, but cannot be "heard".

Experts say that most of digital equalizers do not sound like their analog predecessors, especially when working with low sampling frequencies: 44.1 or 48kHz. Spectrum modifications in the high-frequency region sound as improperly balanced. The reason is so called frequency warping which makes the bells asymmetric and high shelving and high-cut filters much steeper as theoretically set up. To make the LinearPhase PEQ Red analog sounding, special corrections have been applied to the original digital filters making them look exactly like their analog references.

The LinearPhase PEQ Red features the Continuous Slope Filter™ technology, proprietary to Algorithmix and the only one of its kind, worldwide. Unusual flexible shelving and cut filters allow adjustment of any slope in the range from 0 to 24dB/octave.

The LinearPhase PEQ Red better preserves the time relationships of harmonics in the original waveform. This translates to smoother top end, sweeter and bigger midrange, and a clearer more distinct bottom end as compared with phase-shift EQ. The resultant sound seems less processed, more like it occurred naturally in the air in front of the microphone. The mixes become clear and transparent, the instruments more defined and "realistic". You can boost lower frequency regions by even 10dB without mud or slush and with no loss of transients at all. You can remove the sibilance from a vocal with a sharp notch without affecting the whole mix like occurs when using analog or IIR-based digital EQ.