In the 90s, quality graphic equalizers were used to master tasks. Some of these equalizers of at least 16 bands, had a control of global bandwidth (Q), to obtain very musical cuts with little stridency and a pleasant response. Its architecture varied by manufacturer, and its filters were designed in series or in parallel. Parallel filters, how to completely cut the signal, like a volume control, but that positive aspect is truncated with phase problems. On the other hand, the architecture of filters located in series (such as parametric equalizers), without many problems of this type, is currently the most widely used design.
MASTERGRAPHIC, consists of the implementation of serial filters with a total of 30 cuts, and a bandwidth control (Q), which allows us to create very musical curves, even with the most problematic sound material. This allows us to superimpose the bands, creating with a few "dB" a correction and a smooth, but effective coloration.
We went back like this a few years ago, remembering how these themes were mastered, of which some have become a reference in everyone's collective memory.
The -4dB set is oriented to creative work, so we more selectively begin to color curves.
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