This equalizer was originally designed as a variation of the standard three- and four-band console equalizers. It has the same discrete signal path and proportional Q as the EQ PA and EQ PB modules, but uses a ten-band graphical approach rather than the three- and four-band semi-parametric design of the other modules.
The main circuit on which this module was based is still the custom opamp, like its parametric brothers. Therefore, the same sonic character is maintained here, but the graphical approach makes it easy and quick to dial in a specific shape, which is clearly shown by the ten vertical sliders.
This module is useful when you need to make EQ adjustments to larger parts of the spectrum rather than a restricted area. Boosting or cutting multiple bands at once will radically alter the sound of a track, whether it's a thin, weak snare that needs a low part or a dull vocal that needs to be opened up.
The extremely accurate modeling of the entire signal path and the high headroom allowed by the custom op amp and original hardware output transformer made it possible to maintain all of the analog character and subtle harmonic distortion that makes these modules so "robust." This feature is key to their big, bold "American sound" that is clearly recognizable in hundreds of A-list productions.
Furthermore, the reciprocal nature of the EQ PG bands and their fixed frequencies allow you to easily undo a boost or cut operation on an already processed file.
Additionally, the EQ PG is loaded with the same preamp circuitry as the other two EQ models - this enhances and expands the module's sonic possibilities. The low-noise design of the original circuit allows the signal level to be adjusted with the additional heat and low-frequency harmonic content of an additional transformer. Reaching the highest end of the track, a recorded character is imparted into the sound: this specific harmonic distortion combined with the filter bank's massive tone-shaping capabilities makes tracks stand out on many occasions. The saturation in a bass track makes its “nose” appear in a somewhat heavy mix, clean, dirty and lo-fi vocals, and totally scary drums. The possibilities are almost endless.
