Parametric EQ
Bevel EQ
The first-call EQ.
24 freeform bands, any bell or shelf of them dynamic, any of them placed in mid, side, left or right. Slopes to 96 dB/oct and an analyzer that draws pre and post at the same time. Built to be the EQ you open before you know what the problem is.
Signal path
Why it exists
Fixed band layouts, eight-band ceilings, analyzers that smooth away the resonance you are hunting. Most EQs make you work around their design, and the ones that stay out of the way still send you to another plugin the moment the problem moves or lives on one side of the image. Bevel EQ starts from the workflow instead: every band is any shape, any gain band can go dynamic and react to its own frequency region, and any band can sit in mid, side, left or right rather than across the whole stereo picture. The display is the whole interface, the pre and post traces are drawn together, and what the analyzer shows you is what the meter path actually sees.
In the session
One display. The whole job.
01 · Bands
24 bands, zero ceremony.
The EQ starts empty. Double-click the curve and a band exists. Any slot can be a bell, a shelf, a notch, or a high or low pass, with plus or minus 30 dB of gain and Q from 0.1 to 40. Nothing is pre-assigned, so a de-harsh chain on a vocal or a 12-notch resonance hunt on a snare fits in one instance. Drag, hear it, move on.
02 · Slopes
12 to 96 dB/oct, when gentle is not enough.
The high and low pass filters run from musical 12 dB/oct rolloffs to near-brickwall 96. Clear a mud shelf without touching the fundamental, or fence off a kick drum for parallel work with surgical edges. What you hear is the rumble gone while the notes you kept stay at full weight.
03 · Dynamics
Any gain band can move on its own.
Switch a bell or a shelf to dynamic and it gets a threshold from -72 to 0 dB, a range of plus or minus 24 dB, an attack from 0.5 to 200 ms and a release from 5 to 2000 ms. The range is signed, so the same band can duck when the content arrives or lift when it falls away. The detector is filtered to that band's own frequency region, so a 3 kHz band reacts to 3 kHz and not to the kick drum. What you hear is a cut that shows up on the harsh notes and leaves the rest of the take alone.
04 · Placement
Stereo, left, right, mid or side. Per band.
Every band carries its own placement, so a lift can live in the sides while a cut works on the mid alone, on one curve in one instance. The mono-maker sums everything below a chosen frequency, 20 to 500 Hz at 24 dB/oct, so the low end holds together while the top stays wide. Bevel EQ is stereo only: there is no surround and no Atmos.
05 · Analyzer
Pre and post, at the same time.
Both taps are drawn together as cool light directly under the summed curve, so cause and effect share one piece of glass: you see the resonance, cut it, and watch the post trace drop while the pre trace stays put. Range, tilt, speed and FFT size are all switchable, with freeze and a peak-hold trace when you need the shape to sit still. Per-band solo, filtered to match the band's shape, lets you audition exactly what a band hears before you commit.
06 · Control
Numbers when you want them.
The floating bar reads the selected band: frequency, gain, Q, and shape, all typeable. Arrows nudge, Shift gives you a fine drag, Cmd locks the drag to one axis, and Alt-click bypasses a node. A and B hold two full snapshots that travel with the session, undo and redo live inside the plugin, and every change is click-free while the mix plays.
Where it earns its keep
Built for the jobs you actually have.
Vocal chains
High-pass the rumble, notch the honk, shelf the air. One instance covers the whole corrective and tonal chain, with per-band solo to find the harshness fast.
Resonance hunting
Narrow bells, the analyzer under the curve, and solo per band. See the ringing snare frequency, grab it, watch it die on the same display.
Mix bus tone
Broad, gentle shelves and a truthful pre/post analyzer make half-dB bus decisions honest instead of hopeful.
Mastering moves
Surgical cuts at 96 dB/oct next to wide musical lifts, a side-only air lift beside a mid-only cut, and a dynamic band to hold one resonance down only when it sings. A/B snapshots and auto-gain keep the comparison honest.
What's in the unit
Real pixels, not promises.
24 freeform bands
Every slot can be a bell, shelf, notch, or HP/LP filter. No fixed layouts. The EQ becomes whatever the track needs.
Slopes from 12 to 96 dB/oct
Gentle musical rolloffs to near-brickwall surgery, on both high and low pass filters.
A truthful analyzer
Real-time spectrum with the pre and post traces drawn at once, rendered under the summed curve so you see exactly what you changed.
Per-band solo
Audition precisely what each band hears. Find the resonance before you cut it.
A/B and factory presets
Two full plugin states for honest comparisons, plus factory starting points for common jobs.
Click-free everything
Bypass, band edits, and preset recall are all seamless while audio runs.
Every band, any job
| Band type | What it does | Reach for it on |
|---|---|---|
| Bell | Boost or cut around a centre, Q from broad to surgical | Resonances, presence, body |
| Shelf | Lift or lower everything past a corner | Air, warmth, mud |
| Notch | Remove a single frequency | Hum, whistles, ringing |
| High pass | 12 to 96 dB/oct floor control | Rumble, stage noise, low mud |
| Low pass | 12 to 96 dB/oct ceiling control | Hiss, harsh cymbals, lo-fi moves |
Everything in the box
- 24 band slots, each freely assignable
- Bell, low shelf, high shelf, notch, high pass and low pass per slot
- Filter slopes: 12, 24, 48, 72 and 96 dB/oct, cascaded Butterworth
- Gain range ±30 dB, Q from 0.1 to 40
- Per-band placement: Stereo, Left, Right, Mid or Side
- Per-band dynamic mode on the gain shapes: bell, low shelf, high shelf
- Dynamics: threshold -72 to 0 dB, signed range ±24 dB to duck or lift
- Dynamics: attack 0.5 to 200 ms, release 5 to 2000 ms
- Band-filtered detection, so a dynamic band reacts to its own region
- Oversampling: Zero Latency, 2x or 4x, delay-compensated dry path
- Proportional Q, optional: bandwidth narrows as a band is pushed harder
- Auto-gain, optional: compensates the curve's overall boost or cut
- Mono-maker: sums to mono below 20 to 500 Hz at 24 dB/oct
- Spectrum analyzer showing pre and post at the same time
- Analyzer range 60/90/120 dB, tilt 0/3/4.5/6 dB per octave, three speeds
- FFT resolution 4096, 8192 or 16384, with freeze and a peak-hold trace
- Per-band solo, filtered to match that band's shape
- Summed response curve rendered over the analyzer
- Typeable frequency, gain and Q readouts
- Output trim with peak and RMS metering, peak-hold
- A/B snapshot slots that persist with the session
- Undo and redo inside the plugin
- Keyboard: delete a band, arrow nudge, Tab through bands, Cmd-Z
- Shift for a fine drag, Cmd to lock one axis, Alt-click to bypass a band
- Frequency and nearest note name under the cursor
- Nine factory presets plus user presets saved to disk
- Freely resizable window, 760x420 up to 2400x1400
- Click-free bypass, band edits and preset recall
- Full parameter automation in every DAW
- Analyzer drawn on the UI thread, never in the audio path
- State saved and recalled exactly with your session
- Passes pluginval at strictness level 5
- VST3, AU and AAX, Windows and macOS
Specifications
Questions engineers ask
Is Bevel EQ an alternative to FabFilter Pro-Q?
It is built for the same seat: a do-everything parametric EQ with freeform bands, steep filter slopes, per-band dynamics, per-band Mid/Side and an analyzer you work on directly. Bevel EQ covers that ground with 24 bands, slopes to 96 dB/oct, dynamic bells and shelves, five placement options per band, and pre and post spectra drawn together. It is not the same feature list. Bevel EQ has one phase mode with no linear phase option, it is stereo only with no surround or Dolby Atmos, and it has no EQ match, no draw-a-curve spectrum grab, no masking view between instances and no group editing across bands. If your work needs those, this is not the EQ for that part of it.
Can a band be dynamic?
Yes, on the gain shapes: bell, low shelf and high shelf. Each dynamic band gets a threshold from -72 to 0 dB, a range of plus or minus 24 dB, an attack from 0.5 to 200 ms and a release from 5 to 2000 ms. The range is signed, so the same band can duck when content arrives or lift when it falls away. The detector is filtered to the band's own frequency region, so it reacts to its own content rather than to the overall level of the track.
Can I EQ the mid and the sides separately?
Yes. Every band has a placement: Stereo, Left, Right, Mid or Side. A boost in the sides only and a cut in the mid only can sit on the same curve in one instance. There is also a mono-maker that sums everything below a chosen frequency, 20 to 500 Hz, at 24 dB/oct. Bevel EQ is stereo only, so there is no surround or Dolby Atmos support.
Does it add latency?
Not in the default Zero Latency quality, which really is zero. Choose 2x or 4x oversampling and the plugin reports its latency to the host and delay-compensates the dry path, so bypass stays phase-aligned.
Does the analyzer cost CPU in the audio path?
No. The spectrum is computed and drawn on the interface thread at frame rate. The audio thread only runs the filters.
Can I automate bands without zipper noise?
Yes. Every parameter is smoothed, and bypass, band changes and preset recall are click-free while audio runs.
What formats and DAWs does Bevel EQ support?
VST3, AU and AAX on Windows 10+ and macOS, Intel and Apple Silicon. That covers Pro Tools, Logic Pro, Ableton Live, Cubase, Studio One, FL Studio, REAPER and every other major host.
Is there a free trial?
Yes. Every Vitric plugin ships with a free 14 day trial: the full plugin, every feature, no locks. Installers and trial keys land on the downloads page the day the store opens. When the 14 days end, the plugin keeps loading in your sessions in a graceful demo mode.
More from the line
Bevel EQ
Make it your first call.
Open it before you know what the problem is. That is what it was built for.