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5. Final features

1 As mentioned the high frequency shelving band is attenuation only, and with only three frequency options is the least flexible and least used aspect of the EQP-1A. That said, the passive EQ design makes this band handy for natural high frequency curtailment.

2 If you have a finished mix which is overly bright and you have no other way to go back and mend this issue, then a gentle broad attenuation may be enough to get it into shape. Try the 20kHz band first with a setting of 2 or 3 to remove just a few dB.

3 Similarly where you have complex high frequency content such as percussion (cymbals are a typical culprit) recorded in a bright space and you need to reduce that brightness, the T-RackS EQP-1A can be great. Try the 10kHz or even the 5kHz band, setting attenuation levels to taste.

4 You can also combine the attenuation with high frequency boost. Here we’re combining the 20kHz attenuation with the 8kHz boost to add presence to an acoustic guitar. This will reduce the really high frequencies that are enhanced by the 8kHz boost, whilst retaining the shape of the 8kHz boost elsewhere.

5 Finally, as mentioned T-RackS EQP-1A includes linked and independent channel processing. For the latter, instead of the ‘equals’ icon under the Reset button, select either channel individually – here we’ve chosen L/R. Now each button (L and R) reveals specific knob positions for that channel.

6 This is a great feature, and because it includes an M/S option we can process the mid and sides independently, which is great for mastering and bus processing. We’ve selected M/S and we are only processing the mid component.