Bevel EQ

Every one of the 24 band slots can be a bell, low shelf, high shelf, notch, high pass or low pass, with slopes of 12, 24, 48, 72 or 96 dB/oct on the pass filters, gain of ±30 dB and Q from 0.1 to 40. Any gain shape can be switched to dynamic: threshold from -72 to 0 dB, a signed range of ±24 dB so the same band can duck or lift, attack from 0.5 to 200 ms and release from 5 to 2000 ms, with a detector filtered to the band's own frequency region. Every band can sit in Stereo, Left, Right, Mid or Side, and a mono-maker sums everything below 20 to 500 Hz at 24 dB/oct. The display is the whole interface. The spectrum analyzer draws the pre and post traces together under the summed curve, with a 60, 90 or 120 dB range, 0 to 6 dB/oct tilt, three speeds, FFT sizes of 4096, 8192 or 16384, freeze and a peak-hold trace. Per-band solo is filtered to match the band's shape, so you audition exactly what a band hears. The floating bar reads the selected band with typeable frequency, gain and Q. Arrows nudge, Shift gives a fine drag, Cmd or Ctrl locks one axis, Alt-click bypasses a band. A and B snapshots travel with the session, undo and redo live inside the plugin, and bypass, band edits and preset recall are click-free while audio runs. Zero Latency is the default and really is zero. 2x and 4x oversampling report their latency to the host and delay-compensate the dry path, so bypass stays phase-aligned. Proportional Q and auto-gain are optional. Nine factory presets, user presets saved to disk, output trim with peak and RMS metering, and a freely resizable window from 760x420 up to 2400x1400. The analyzer is drawn on the interface thread and never touches the audio path. Bevel EQ is stereo only, has one phase mode with no linear-phase option, and no EQ match or masking view. If your work needs those, this is not the EQ for that part of it. Built and used at a working recording studio.