EQ / Filter

Tone shaping, filters and wah.

Module	In short
Guitar EQ	Bass, Mid and Treble shape the tone; the curve shows the combined response.
Cut EQ	Low cut and High cut trim rumble and fizz; Presence adds bite.
Parametric EQ	Bell or notch, resonant cuts, and an optional low shelf.
Console EQ	Broad console bands with harmonic colour on louder notes.
Filter	Cutoff and Resonance shape tone; Envelope follows playing strength.
Wah	Position sweeps the peak; Register moves its heel and toe range.

Guitar EQ

Three broad bands for everyday tone shaping: a 150 Hz shelf, a broad 800 Hz bell and a 3 kHz shelf.

Control	Range	Start	What it does
Bass	-12 to +12 dB	0 dB	150 Hz shelf.
Mid	-12 to +12 dB	0 dB	Broad 800 Hz bell.
Treble	-12 to +12 dB	0 dB	3 kHz shelf.

Display: The combined EQ curve over the live output spectrum.

Cut EQ

Low cut and high cut for rumble and fizz, plus a 3.5 kHz presence shelf.

Control	Range	Start	What it does
Low cut	0–300 Hz	80 Hz	Removes rumble and boom below this frequency; 0 is off.
High cut	2000–20000 Hz	10000 Hz	Removes fizz above this frequency; 20000 is open.
Presence	-6 to +6 dB	0 dB	3.5 kHz shelf for bite or smoothness.

Display: The combined EQ curve over the live output spectrum.

Tips:

• For bass, lower Low cut to 30 to 45 Hz or turn it off; 80 Hz is an electric-guitar choice.

Parametric EQ

One bell or notch from 20 Hz to 20 kHz with ±12 dB and Q 0.1 to 20, plus independent resonant low and high cuts. Switch the low cut to a shelf for a low-frequency boost or reduction. Notch mode hides Gain because the notch depth is fixed.

The top row groups the bell/notch controls and optional Shelf gain. The bottom row pairs each end-band frequency with its Q: Low cut (or Low shelf), Low Q, High cut, High Q.

Control	Range	Start	What it does
Frequency	20–20000 Hz	800 Hz	Center frequency of the bell or notch; Q sets how narrow the affected band is.
Gain	-12 to +12 dB	0 dB	Boost or cut the selected band. Notch mode removes this control because notch depth is fixed.
Q	0.1–20	0.7	Higher Q narrows the bell or notch; lower Q changes a broader part of the guitar tone.
Shelf gain	-12 to +12 dB	0 dB	Low-frequency boost or reduction; visible in Shelf mode.
Low cut / Low shelf	0–300 Hz	0 Hz	Low-band frequency; 0 bypasses the low band in either mode.
Low Q	0.1–4	0.71	Shapes the low cut or shelf transition; higher values add resonance.
High cut	2000–20000 Hz	20000 Hz	Removes highs above this frequency; 20000 is open.
High Q	0.1–4	0.71	Shapes the high-cut transition; higher values add resonance.

In the header:

• Band: Bell / Notch (starts at Bell): Notch rejects a narrow band without a Gain control; Bell boosts or cuts using Gain.
• Low: Cut / Shelf (starts at Cut): Choose a resonant low cut or a low shelf with its own gain. Both use Low Q.

Display: The combined EQ curve includes both end-band frequencies, Q values and the shelf gain over the live output spectrum; the shaded band is the bell's width. The curve scale expands when boosts or resonant peaks need more room. Existing presets retain their original cut response at the default end-band Q values.

Tips:

• Find a harsh frequency with a narrow boost, then turn Gain negative.

Console EQ

Airwindows-style console EQ with broad, overlapping bands and extra harmonic colour on louder notes. Its cuts use relative amounts rather than frequencies.

Control	Range	Start	What it does
Treble	-6 to +6 dB	0 dB	Boost or cut the band. It also adds harmonics, so the actual change depends on how hard you play.
Mid	-6 to +6 dB	0 dB	Boost or cut the band. It also adds harmonics, so the actual change depends on how hard you play.
Bass	-6 to +6 dB	0 dB	Boost or cut the band. It also adds harmonics, so the actual change depends on how hard you play.
Treble freq	1000–16000 Hz	4750 Hz	Moves the band. An approximate frequency; the broad bands overlap.
Bass freq	300–16000 Hz	300 Hz	Moves the band. An approximate frequency; the broad bands overlap.
Low cut	0–100%	0%	Removes low end; 0% is off. A relative amount, not a frequency.
High cut	0–100%	100%	Removes highs; 100% is open, lower is darker. A relative amount, not a frequency.

Display: The quiet-signal response over the live output spectrum. Louder notes add harmonics the curve cannot show.

Filter

A resonant low-pass, high-pass or band-pass filter. Envelope opens the cutoff up to four octaves as you play harder.

Control	Range	Start	What it does
Cutoff	40–12000 Hz	2500 Hz	Resting filter frequency. Envelope opens it upward; resonance emphasizes its edge.
Resonance	0.5–4	0.71	Emphasis around the cutoff. Higher values create a more vocal, peaky response.
Envelope	0–4 oct	0 oct	Maximum upward sweep in octaves as you play harder. Zero makes the filter static.

In the header:

• Mode (Low-pass, High-pass, Band-pass; starts at Low-pass) Low-pass darkens, high-pass thins, band-pass isolates a vocal band.

Display: The filter response over the live output spectrum; the shaded range shows the envelope's reach at -12 dBFS.

Tips:

• Set Envelope to 2 octaves and Resonance to about 2 for an auto-wah.

Wah

An automatable wah sweep: a resonant band-pass with body. Map Position to an expression pedal through your DAW.

Control	Range	Start	What it does
Position	0–100%	50%	Heel-to-toe sweep. Automate it or map it to an expression controller in the host.
Resonance	1–6 Q	3 Q	Higher Q makes a narrower, more pronounced wah peak.
Register	0–100%	50%	Raises both heel and toe endpoints; it changes the register, not the sweep width.
Output	-12 to +12 dB	0 dB	Final level. Match bypass volume when comparing tones.
Mix	0–100%	100%	Balance between dry sound and effect.

Display: The wah peak over the live output spectrum.

Tips:

• Draw automation for Position, or map it to a MIDI controller in your DAW.