Differing from the hundreds of analog EQ emulations in the plugin market, StonEQ 4k has its own personality, color and behavior. It is not, nor does it try to be, a faithful emulation of the original EQ.
Let us demonstrate with an example: When using the “Width” control, you will notice that from 0% to 49% the equalizer is rather surgical — mostly used to “repair” audio as well as to eliminate unwanted resonances or frequencies. In this sense, the band behaves more like the Black unit. However, when employing a width from 50% to 100%, the band will become much more musical.
In addition, StonEQ 4k features its own unique form of saturation, ranging from subtle to aggressive.
- Refined analog style. Four bands and two filters.
- Highs: Featuring selectable high shelf or bell filter.
- High Mids: Ranging from 300 Hz to 7000 Hz.
- Low Mids: Ranging from 100 Hz to 3000 Hz.
- Lows: Featuring selectable low shelf or bell filter.
- Filters: Featuring low pass and high pass filters.
- Saturation Ranges from very subtle, passing through “warm” levels, all the way to levels approaching overdriven.
- Output to level the output volume.
- A/B switch for A/B comparison.
- Presets system to create and edit both user and factory presets.
- Support for HQ screen resolution (Retina)
- Optimized for real time usage
- Internal 64-bit floating point double precision.
Represented by the blue color, this band has a selectable range of frequencies from 1500 Hz to 16000 Hz, with a gain ranging from -15 to +15 dB. It has two operation modes: Bell and High Shelf that can be selected with the “Bell” switch.
- The Bell mode is a bell filter represented by a rather wide bell, serving to obtain crisp and clear highs. At the same time, it can be quite pronounced and strong, but always remains pleasant to the ear.
- The High Shelf mode is a shelf-type filter designed to sound smooth and lend “air” to an entire mix or a single instrument.
StonEQ’s two bands blend some characteristics of the brown unit and others from the black unit. The differences are more noticeable when manipulating the Width control, represented by the bell-shaped icon. Narrower settings (represented by the minus symbol: “-“) more closely resemble the “black” unit. When the bell is set wider (represented by the plus symbol: “+”) its sound is more similar to the “brown” unit.
In both bands the Gain control has a range from -15 to +15 dB.
- High Mid Band (represented by the red color) has a frequency ranging from 300 Hz to 7000 Hz.
- Low Mid Band (represented by the green color) has a frequency ranging from 100 Hz to 3000 Hz.
Represented by orange color, this band has a frequency range from 30 Hz to 450hz with an adjustable gain from -15 dB and +15 dB.
The low band has two modes of operation: Bell and Low Shelf, which can be selected from the “Bell” switch.
- Bell mode is a bell filter type featuring a medium size “width.” Bell mode can emphasize frequencies which may help single instruments to “sit” in the mix. Bell mode’s boost can be used musically to provide a natural, clear sound (for example, bell mode can be used to boost the fundamental frequencies of a kick drum without unwanted mud and clutter).
- The Low Shelf mode is a shelf type filter. Like the “brown” unit’s low shelf mode, StonEQ’s low shelf mode is designed to be musical.
High Pass and Low Pass are modeled from the original channel strip. Both filters are designed to eliminate unwanted frequencies and help tracks “sit” in your mix.
High Pass has a wide frequency array, ranging from 0 Hz (off) to 1000 Hz.
Low Pass covers frequencies from 2 Khz to 22 Khz (off).
Saturation is controlled by the Drive control (labeled “DRV”). DRV ranges from very subtle, passing through “warm” levels, all the way to levels approaching overdriven.
When the DRV knob is set to 0% the saturation algorithm is completely disengaged from the plugin (yielding no saturation whatsoever).
Setting the DRV knob between 20% and 40% produces a subtle but colored saturation. At higher levels, ranging between 50% and 70%, saturation leans toward a clipping effect (reminiscent of analog clipping) which trims peaks, producing a natural limiter effect.
When set above 70%, saturation sounds more aggressive, reaching toward overdriven.
StonEQ’s saturation algorithm interacts with equalization (since it is placed after the EQ module). As such, EQ settings affect its subtly or intensity.