Wow, what a terrific EQ! Tight bass, but never hard and always organic sounding. It fits perfectly well between my Gyraf G14 which is softer & the API which is firmer. The highs are soft, but still firm and not too soft. I also like the shelfs very much. Very clever for the bell, the bandwidth gets smaller from left to right, however, in the same time for the shelf the slope is getting greater. So you can just switch shelf <> bell & check which characteristic you like better. The mids are also great and even small bells are sounding superb and never annoying, I've ever heard such an attribute before. All in all, the EQ doesn't show any weakness over the entire frequency range. The signal remains coherent like a perfect pizza dough. I will need to suppress me a little bit in the beginning to not to overdose this EQ in my masters. Thanks again for such a great EQ, for your excellent service & being very kind! Greetings from Germany to New Zealand.
[2013 Fine Mastering]
Having had about a month with the REQ, none of the initial pleasure has subsided. Even without the saturation controls, the EQ is powerful, clear and incapable of making something sound bad. It just doesn't happen. The saturation portion of the EQ is well thought out and a useful addition to this otherwise very, very nice creation, more-so than I thought it would be. The Hi-pass options are great and again, well thought out. And, its pretty fun EQ-point hunting with the controls set to "extremes". The REQ is capable of laughable settings while continuing to sound musical. Obviously it was designed to be to a world-class, top level EQ. It very clearly is just that... I wish I had owned it sooner. Very, very nice work Tim. Very happy in Brooklyn!
I wanted to take a minute and let you know what a blast I've been having exploring the REQ. There are surprising new discoveries every day. The flexibility and variety is vast and everything sounds terrific. The frequencies have taken on new meaning from what I am accustomed to. What a superb paintbox for music. Regards, Alan.
I am a mastering engineer by trade and wanted to let you know how much I am enjoying my REQ 2.2 Mastering EQ! This unit is such a work of art and it makes me and my clients sound quite expensive. It is so interesting to be able to make boosts in the frequency spectrum that are normally quite problematic and have the result sound so natural. Great work! Let me know if you come out with a mastering specific compressor and I will buy it.
I've had the REQ-2.2ME in use for about a week and I love this thing. I have found that it affects program in a way that I can only describe as making the overall end result sound 'the same, but different'. There are two caveats:
1) Different in a good way. 2) Depending on the program, the REQ filters seem to slightly 'change' where certain elements or instruments sit in the mix. I could describe this curious response as a sonically holographic characteristic.
I have never experienced this before with an analog equalizer. It is something that - if carefully exploited - might well be used as helpful tool in the process. The performance of the filters, and especially the Q functions are spot on. Gutsy when needed, but can be dialed in to convey subtle improvements as well. It is evident that Tim and his team have worked long and hard to develop the frequency selections, stepped values, and front panel layout. Tweaking this beast is very intuitive - no 'hunting and pecking' to find the right control.
I know that the saturation circuit at the output stage was a bit of a design afterthought - but I have found this feature to be especially useful in adding body the low end of many electronic and hip-hop productions; music that has been created solely 'in the box' can really benefit from the transformer saturation effect to bring the music back to the land of the living. In particular, setting 1 and 2 are great for doing just this to mixes which sorely need it.
The I/O switching of different sections - and overall 'system' bypass provides just the right amount of flexibility to audition the effect of processing on a song. Again, an example of well thought out, and implemented design. The build quality is outstanding; the chassis, rotary switches, and internal layout (yes I had to pop the hood) are all top notch.
In operation, this EQ gets really hot - like V8-engine-block hot.... you just know those discrete class A op-amps are working away like little monsters. If mounted in a 19" rack, I would recommend to anyone that a full 1RU space be left open above and below this unit.
This is a fantastic EQ. It performs superbly as my primary mastering equalizer. Well done, Tim and company!
I got to tell you this eq is amazing. The best way to describe it is that I hear more of the quality of the instrument in a given frequency range. It gives the mix more of a dimension from front to back, kinda jumps out at you. Right before this email I got blown away when boosting a mid frequency to warm up an acoustic guitar. It was almost as if the guitar changed mic position to bring out the better tone. In fairness I have not heard the Sontec or some other well regarded high end eq's in my room, but in all my 10 years as a mastering engineer this eq does it for me in a big way!