RadEQ 2.0
RadEQ is a character EQ designed for shaping tone rather than fixing problems.
Version 2.0 is a ground-up rebuild — new DSP engine, new visual design, and a completely rethought workflow that gets out of your way and lets you work by ear.
Many digital equalizers are precise but sterile. They remove frequencies accurately, yet the track still feels disconnected from the mix. RadEQ focuses on the musical side of EQ — broad curves, interactive bands, and a signal path tuned for natural movement at every stage.
What's new in 2.0
The EQ display is now fully interactive. Eight bands sit directly on the response curve — drag up or down for gain, Alt-drag to move frequency, scroll the mouse wheel to adjust Q. HP and LP blade filters flank the display with large grab handles that move freely without locking against each other. The curve updates in real time using true biquad coefficient math, so what you see is exactly what you hear.
A dual spectrum analyzer shows input and output simultaneously — input as a subtle grey fill behind the curve, output as a teal layer in front. The difference between them is your EQ at work.
The preset library has been expanded to over 65 starting points covering vocals, guitar, bass, drums, keys, synths, mix bus, mastering, strings, brass, and creative FX — organized into submenus so you're never scrolling through a long flat list. Random generates a musically-aware EQ curve. Last steps back to your previous setting, whether that was a preset, a random, or a manual drag.
The Mix knob blends the full processed signal against the dry input for parallel EQ without a second track. The audio-reactive lines flanking it pulse with your signal level in real time.
The drive stage from 1.0 has been replaced with a cleaner signal path. Saturation coloration is now handled by the Dirt parameter when needed, leaving the default path transparent.
Where it works
RadEQ works well on individual tracks, submixes, and full mix bus duties where tone balance and cohesion matter more than surgical correction. The broad default Q values and musically-spaced band positions make it fast to use on anything — vocals, guitars, drums, and full mixes all respond well without needing narrow carving.
RadEQ 2.0 is a ground-up rebuild of the original character EQ — same musical philosophy, completely new engine and interface. It focuses on tone shaping, interactive bands, and a workflow designed to let you work by ear rather than by numbers.
Many digital equalizers are precise but sterile. They remove frequencies accurately, yet the track can still feel disconnected from the mix. RadEQ emphasizes broad curves and musical movement so boosts and cuts feel intentional rather than clinical.
The result is an EQ that helps instruments sit naturally inside a mix instead of sounding processed in isolation.
RadEQ has eight fully interactive bands displayed directly on the response curve. Drag a node up or down to adjust gain, Alt-drag to move its frequency, scroll the mouse wheel over a node to adjust Q. Double-click any node to reset its gain to zero. The curve updates in real time using the same biquad math that drives the audio — what you see is exactly what you hear.
Low Bands (1–2)
Designed for weight and foundation.
Boosting adds body without clouding the kick or low mids.
Cutting tightens up muddy sources while preserving punch.
Low-Mid & High-Mid Bands (3–6)
These are the placement controls.
Use them to move guitars forward, soften harsh vocals, or create space between competing elements.
The curves are tuned for smooth interaction rather than narrow notching.
High Bands (7–8)
Adds presence and air without brittle harshness.
Small boosts bring clarity to guitars, vocals, or synths.
Higher boosts create sheen without exaggerated digital edge.
RadEQ includes two full-cut range blades — one at each end of the spectrum. Grab the orange pill handle and drag to set the cutoff. They move freely and independently, stopping only when they would cross each other.
Use the left blade (high-pass) to remove unnecessary sub frequencies. Perfect for tightening guitars, creating focused acoustic strumming textures, or preventing low-end buildup in dense arrangements.
Use the right blade (low-pass) to remove excessive top-end. Great for darkening synth layers, shaping lo-fi textures, or creating vintage-style tone without using extreme band cuts.
Together, the blades allow you to sculpt a tonal window — from narrow and focused to wide and full. The frequency label floats above each handle so you always know where you are.
Version 2.0 includes over 65 presets organized into submenus — Vocals, Guitar, Drums, Keys & Synth, Mix Bus, Mastering, Strings & Brass, and FX / Creative. These are starting points, not destinations. Use them to get in the ballpark quickly, then adjust by ear.
Random generates a musically-aware EQ curve — useful for inspiration or breaking out of habitual settings. Last steps back to your previous state, whether that was a preset, a random, or a manual drag. It captures every change so nothing is lost.
The Mix knob at the bottom blends the fully processed signal against the dry input. At 100% you hear the full EQ. Below 100% you get parallel EQ without needing a second track or a send. The lines flanking the knob pulse with your output level in real time.
Parallel EQ is especially useful on drums and full mixes where you want the character of a heavy EQ move without losing the transient punch of the dry signal.
Tight Modern Guitar
Left blade slightly engaged — small low-mid cut — gentle high boost
Locks the guitar into a mix without excess rumble.
Thin Indie Acoustic
Left blade higher than usual — slight high-mid boost — Mix at 80%
Creates focused strumming texture that stays out of the vocal range.
Vocal Placement
Low-mid reduction — small high boost — right blade slightly lowered
Adds clarity while avoiding harsh sibilance.
Mix Bus Glue
Very small broad adjustments across a few bands — Mix at 70–80%
Subtle tonal balance with the dry signal keeping everything cohesive.
Parallel Drums
Aggressive low boost and high presence boost — Mix at 40–60%
Adds weight and snap without destroying the transients of the original.
