Michael
Hynes...
I am a mastering engineer by trade and wanted to let you know how much
I am enjoying my REQ 2.2 Mastering EQ! This unit is such a work of art
and it makes me and my clients sound quite expensive. It is so interesting
to be able to make boosts in the frequency spectrum that are normally
quite problematic and have the result sound so natural. Great
work! Let me know if you come out with a mastering specific compressor
and I will buy it.
December
2011, Asheville, USA
nomaticstudio.com
Chris
Jordan...
I've had the REQ-2.2ME in use for about a week and I love this thing.
I have found that it affects program in a way that I can only describe
as making the overall end result sound 'the same, but different'. There
are two caveats:
1) Different in a good way.
2) Depending on the program, the REQ filters seem to slightly 'change'
where certain elements or instruments sit in the mix. I could describe
this curious response as a sonically holographic characteristic.
I have never experienced this before with an analog equalizer. It is
something that - if carefully exploited - might well be used as helpful
tool in the process.
The performance of the filters, and especially the Q functions are spot
on. Gutsy when needed, but can be dialed in to convey subtle improvements
as well.
It is evident that Tim and his team have worked long and hard to develop
the frequency selections, stepped values, and front panel layout. Tweaking
this beast is very intuitive - no 'hunting and pecking' to find the
right control.
I know that the saturation circuit at the output stage was a bit of
a design afterthought - but I have found this feature to be especially
useful in adding body the low end of many electronic and hip-hop productions;
music that has been created solely 'in the box' can really benefit from
the transformer saturation effect to bring the music back to the land
of the living. In particular, setting 1 and 2 are great for doing just
this to mixes which sorely need it.
The I/O switching of different sections - and overall 'system' bypass
provides just the right amount of flexibility to audition the effect
of processing on a song. Again, an example of well thought out, and
implemented design. The build quality is outstanding; the chassis, rotary
switches, and internal layout (yes I had to pop the hood) are all top
notch.
In operation, this EQ gets really hot - like V8-engine-block hot....
you just know those discrete class A op-amps are working away like little
monsters. If mounted in a 19" rack, I would recommend to anyone
that a full 1RU space be left open above and below this unit.
This is a fantastic EQ. It performs superbly as my primary mastering
equalizer. Well done, Tim and company!
August 2009,
Foundation Mastering, London, CANADA
Ed Littman...
I got to tell you this eq is amazing. The best way to describe it is
that I hear more of the quality of the instrument in a given frequency
range. It gives the mix more of a dimension from front to back, kinda
jumps out at you. Right before this email I got blown away when boosting
a mid frequency to warm up an acoustic guitar. It was almost as if the
guitar changed mic position to bring out the better tone. In fairness
I have not heard the Sontec or some other well regarded high end eq's
in my room, but in all my 10 years as a mastering engineer this eq does
it for me in a big way!
May 2009, Ed
Littman Mastering, USA.
