SantaCruzEQ — Lightweight Multi–Architecture MP Equalizer

Six or twelve precision variations on “analog,” all in one affordable EQ.



Beautiful analog Architectures, up to twelve, that will ramp up your reputation.

• SantaCruzEQ12: $259
• SantaCruzEQ6 Price: $189

SantaCruzEQ12 Architectures

Yes, Your Blueness

Why develop yet one more minimum–phase parametric equalizer (MP PEQ) when there’s already hundreds on the market? The answer is simple…’Cuz there was room for improvement! It was customers of the original LinearPhase PEQ Red and Orange who asked Algorithmix to develop a classic EQ, for recording and mixing tasks, with unparalleled purity and transparency. Over several years, our Dr. Christoph closely analyzed many of the best out there, and compiled a vast knowledgebase of analog EQ best practices. Cherry picking from that, he implemented not just one or two, but an entire collection of trad minimal phase EQs. The result? A distillation of analog antecedents, while others are based on new ideas. We know you’ll enjoy our dozen variations of blue, newly revised by MAAT, and find your favorite sound.

The Not So Dirty Dozen

We wanted to lift analog to another level, so we reverse engineered a variety of well respected hardware EQs, creating idealized digital versions from that inspiration. Rather than models or simulations that carry analog baggage, SantaCruzEQ has no noise, distortion or other secondary effects inherited from analog.

SantaCruzEQ12 is a complete collection of classic equalizer Architectures, assembled into one package. You get precise, idealized examples of legendary analog equalizer circuitry, complemented by progressive new models. Whether it’s vintage, modern, or experimental, SantaCruzEQ is a sonic sandbox for every mixing and mastering engineer to mess around in.


The equalizer is perhaps the oldest and the most popular of sound processing tools. From its earliest days, the main function was correction or enhancement by boosting or cutting certain frequencies.
For a century, engineers have developed countless equalizers. A few became legend, our thEQorange is one. The most popular version in recording and post is the parametric equalizer or PEQ, first perfected by Massenburg in 1972. It offers maximum flexibility with only three controls. Properly used, the PEQ is a powerful tool and the best friend of every audio engineer in the quest for perfect sound. As Spidey (and Voltaire) always reminds us though, “With great power comes great responsibility.” When designed by a clueless or cost–constrained software engineer, it can be your greatest sonic enemy.

Choice Is Good

SantaCruzEQ is the low CPU version of thEQblue, with six utilitarian Sections. In order to give you a choice of features and price, SantaCruzEQ is available in two versions:

  • SantaCruzEQ6,  with 6 Architectures; №s 1 through 6 below
  • SantaCruzEQ12, with 12 Architectures; all twelve below

Type Comments & Analog Kinfolk
01 ../assets/images/products/thEQblue/FilterCurves/01-Classic-SymmetricCROP-87bcfd3f.jpg Classic Sym Series symmetrical, almost constant Q bell — common mix desk & outboard gear Architecture, try on “surgical” applications
02 ../assets/images/products/thEQblue/FilterCurves/02-Classic-AsymCROP-4e58dc51.jpg Classic Asym Series asymmetrical — Old Skool, boost like № 1 but with narrower cut
03 ../assets/images/products/thEQblue/FilterCurves/03-Proportional-1CROP-3803d5c7.jpg Proportional 1 Series proportional — More musical than constant Q, especially for mixing and post. Bells are wider at <6dB and narrower at >6dB
04 ../assets/images/products/thEQblue/FilterCurves/04-Proportional-2CROP-af87727d.jpg Proportional 2 Series proportional — Like № 3 but with bigger changes at large gain settings > ±6dB, try on vocals
05 ../assets/images/products/thEQblue/FilterCurves/05-Proportional-3CROP-e39f74d8.jpg Proportional 3 Series proportional — Like № 3 but with extra wide bells at small gain settings, from 0 to 3dB
06 ../assets/images/products/thEQblue/FilterCurves/06-Const-Q-AsymCROP-ffd05b83.jpg Const-Q Asym Series asymmetrical, constant Q — Boost like № 1, cut like № 5 (extra wide), as found in some USA products & mixers
07 ../assets/images/products/thEQblue/FilterCurves/07-Const-Q-RCROP-0c891a3c.jpg Const-Q Asy R Series asymmetrical, constant Q — Like № 6 but with mirrored boost & cut
08 ../assets/images/products/thEQblue/FilterCurves/08-Const-Q-InversCROP-ed8bd8d6.jpg Const-Q Invers Series symmetrical, constant Q — Similar to № 7
09 ../assets/images/products/thEQblue/FilterCurves/09-Const-Q-IdealCROP-6b53279b.jpg Const-Q New Series proportional, constant Q — Our special Architecture…try it!
10 ../assets/images/products/thEQblue/FilterCurves/10-Const-Q-NewCROP-b4693988.jpg Const-Q Ideal Series ideal & constant Q — Another special, similar to № 1, all three parameters (resonant ƒ, gain & Q) are independent, no analog relatives!
11 ../assets/images/products/thEQblue/FilterCurves/11-Parallel-FF-FBCROP-c74b373a.jpg Parallel FF-FB Parallel feed forward/feedback — Complementary amplitude and phase characteristics for boost & cut (symmetrical), found in high end graphic EQs, 1st choice for mastering [reference Massenburg]
12 ../assets/images/products/thEQblue/FilterCurves/12-Parallel-LC-AsymCROP-df17eee5.jpg Parallel LC Parallel passive LC — Tonal advantages with band interaction & asymmetry disadvantages, found in old or newly recreated PEQs, another choice for mastering [reference Massive Passive, Sontec]

Constant Q is more for surgical applications, while proportional EQs are best when combining multiple overlapping Sections. As a point of reference, API, Pultec, Masselec and Avalon EQs are all of the proportional type.

Note that all 12 Architectures are normalized to have exactly the same bell shape at 6dB of boost. This allows you to easily compare the sound of each Architecture.


Better By Design

SantaCruzEQ is built on the belief that exceptional fidelity, enhanced workflows and less visual fatigue are hallmarks of better quality toolsets. Our reliance on hard science and focused research balanced by in–depth listening and customer feedback, redefines audio tools for you and your fellow hardcore media professionals worldwide.

SantaCruzEQ borrows the innovative code from both Algorithmix’s original PEQ Blue and our own thEQblue remix, wrapping it in a modern, higher fidelity environment designed to help you be more productive.
  • The most complete collection of classic analog equalizer emulations
  • Six or twelve different equalizer types; in total, 10 serial & 2 parallel
  • Up to 12 PEQ styles for every job: classic, vintage, modern and unconventional
  • Different Q characteristics: classic, constant–Q, proportional, ideal–Q and special
  • True high resolution emulation of analog equalizers, not modeling: no added noise, distortion or other non–linearities
  • Support for up to 384 kHz sample rate, suitable for HRA and game production and post
  • Extended center frequency up to 80 kHz for filtering and correction in the ultrasonic
  • Bell filters in all PEQ types are normalized to look identically at +6.02 dB of gain and Q of 0.71, ideal for quick comparisons between types
  • Six Sections total, with four having freely assignable parametric filter variants: bell; multi–order high & low shelf; multi–order high & low cut
  • “Outer” Sections, the first and last, offer multi–order high & low shelf and multi–order high & low cut
  • Extremely low noise and low nonlinear distortion algorithms result in residual THD+N significantly lower than 24 bit quantization noise
  • Adjustable Q Factor for bell filters
  • Adjustable slope for shelving and cut filters
  • Multiple low and high cut filters can be overlapped to achieve brickwall slopes
  • Very low noise and distortion upsampling for analog–like filters at baseband sample rates
  • Insane 80 bit “long double” precision internals virtually eliminate rounding errors and resulting distortion
  • Resizable and zoomable frequency response graphing for precise adjustments
  • Parameter editing via numerical fields or directly on the Graph
  • Presets for quick setup comparison
  • Several instances, each with different PEQ architectures, can be opened simultaneously
  • Band grouping function lets you simultaneously alter ƒ, Q and gain for multiple Sections
  • ƒ lock function when you’ve found your resonant frequency and want to alter just Q or gain
  • True Peak metering alerts you to TP overs
  • Sort button rearranges Sections in order, from low to high ƒ, with a single click
With a very wide range of choices, you are ready to tackle any job with a subtle or obvious approach.
  • Tracking, mixing & mastering
  • HRA post including ultrasonic tailoring
  • Broadcast production & post
  • Game production
  • Reinforcement: microphone response improvement, speaker deficiencies correction, acoustic compensation
  • Sound design & enhancement
  • Restoration & correction of transmission losses

Iron Maiden

The contribution of distortion to the specific sound of a particular analog equalizer caused by its respective electronics is largely what makes it “good.” Usually though, non–linear distortion, horrific group delay and other deficiencies produce more “nasty” than “magic.” Our philosophy, for PEQ design, has always been to make filters as precise and clean as possible. For controlled distortion, we recommend high quality tape emulation, a well made pedal or other carefully applied studio magic.


With SantaCruzEQ, you can call up to six Sections from one of the six (SantaCruzEQ6) or twelve (SantaCruzEQ12) architectural styles available. For the first and last Sections, choose from a selection of shelving or cut filters. For the four (SCEQ6) or ten (SCEQ12) center Sections, choose from nine freely assignable filter topologies, including bell, first and second order low or high shelf along with first and second order low or high cut.
The most significant filter types bearing the equalizer name are bells or peaking filters. Set to a particular Q, different bells change their bandwidth depending on the amount of boost or cut making comparison difficult between Architectures. But wait, we’ve made it easy…

Comparing Architectures…

In order to make meaningful comparisons of different styles, all twelve equalizer Architectures are normalized to have exactly the same bell shape for +6dB of gain. If you listen to a bell filter at +6.02dB and a Q of 0.71, you will get the same audible result for all Architecture types. This normalization of the Q or Quality Factor is a unique MAAT feature, and distinguishes our Architectures from their analog antecedents because many of the originals have undefined Q definitions due to the limitation of analog technology. The normalization allows you to compare the different EQ Architectures in SantaCruzEQ with ease.
BTW, a single minimal phase bell filter with identical shape will sound the same regardless of Architecture. The difference between Architecture becomes obvious when you have activated more bells and other topologies so that they start to interact with each other. This will reveal the different characteristics of each Architecture, in terms of phase interaction and different gain and Q relationships.

SantaCruzEQ Topologies

Classics All

The Classic Symmetrical is the most popular bell shape used in many mixers and outboard equalizers. It is almost “constant Q.” That is, as resonant frequency changes, the bandwidth changes, widening as the frequency goes from low to high to maintain a constant ratio of center frequency divided by bandwidth. Constant Q is roughly the way our hearing perceives an EQ’s effect.

The three Proportional PEQs emulate bell characteristics which change their bandwidth proportional to their boost or cut. Many think they behave more musically as you don’t have to correct the Q after every amplitude change. There are also three other constant–Q equalizers available, with characteristics similar to some classic American brands.

SantaCruzEQ also offers two proprietary constant–Q varieties. The first, Constant-Q Ideal, is a perfect version of the Classic Symmetrical equalizer, having exactly the same bandwidth at any amplitude within its range of Q. This is measured 3 dB below maximum amplitude at and above +6 dB of boost. Such PEQs are impossible to implement in the analog domain, hence the “ideal” name. Another specialty variety is the Constant-Q New, which follows a new Q definition. It preserves exactly the same bandwidth at the half of the maximum amplitude for all amplitude values. Unlike the classic Q definition, this includes the range below 6 dB of boost. Due to its amplitude/bandwidth dependency in terms of a classic Q definition, this new kind of constant-Q PEQ could also be thought of as a member of the proportional group.

Finally we emulated two vintage parallel equalizers. With parallel construction, the main input feeds every filter in parallel, with each filter’s output being summed together for the final composite output. With a series implementation, filters are cascaded; each fed from the output of the previous filter. Unlike a series parametric equalizer (almost all paramets are serial), parallel–connected filters combine or cascade differently. They also behave differently in terms of phase. Their special interactive behavior between bands is offset by a pleasing sonic character. Our Parallel LC emulates old skool parallel passive PEQ circuitry built with inductors and capacitors. The Parallel Feed–Forward/Feedback Architecture emulates the feed–forward/feed–back designs still popular in low noise analog graphic EQs. While the feed–forward path is trivial to implement, the feedback path is impossible to implement in traditional digital signal processing, because of the need for so called “delay–free” feedback loops. In SantaCruzEQ, we apply a unique and very elaborate technique for true emulation of delay-free feedback. The result is a characteristic sound and perfectly complementary filters for boost and cut.

The Filter Library

In SantaCruzEQ, not only are various bell–shaped filters available but also different kinds of shelving filters. Nine of the series equalizers use a special shelving design characterized by a cut–off frequency defined in the middle of the transition region. We found these filter definitions more intuitive than the classical “–3 dB below maximum.” The old skool definition is only used in the Classic Asymmetrical Architecture in order to conform to its analog antecedent. All 2nd order shelving filters have a Q adjustment to emulate vintage characteristics, with their inherent and specific bumps at higher slopes. Also, the parallel equalizers are equipped with respective shelving filters shapes that are typical of old parallel PEQs. They also have interacting bands as did their analog predecessors.
Every complex PEQ is equipped with cut filters. With SantaCruzEQ, each of the twelve equalizer Architectures can provide 1st and 2nd order cuts. The 2nd order filters have a Q adjustment to create a resonant filter response, and can be combined to provide very steep “brickwall” slopes by cascading several Sections.

Best of Both Worlds

SantaCruzEQ is a creative equalizer tool combining the best of both the analog and digital domains. To avoid bell filter asymmetry at high frequencies for baseband sample rates, typical of many digital equalizers, we have applied reference–quality upsampling, which automatically kicks in for 44.1 or 48 kHz. By using proprietary filter algorithms, we have achieved a huge dynamic range, as well as extremely low noise and distortion. This yields unparalleled sonic purity, impossible for any analog circuitry. We suggest leaving the oversampling option always on so as to get the “analog” smoothness missing from other brand’s EQs.

MAAT Minimum–Phase EQ Plug–Ins

Feature Comparison

thEQblue6 thEQblue12 SantaCruzEQ6 SantaCruzEQ12
Features     ⊹ Notes ⊹
Architectures§ Twelve architectures: №s 1-10, serial type; №s 11-12, parallel type 6 total; №s 1-6 12 total; №s 1-12 6 total; №s 1-6 12 total; №s 1-12
Sections Five topologies available: 1st & 2nd order, variable slope cut & shelf; parametric bell 12 total; all five topologies 12 total; all five topologies 6 total; #1 & 6 are cut & shelf only; #2 - 5, all five topologies 6 total; #1 & 6 are cut & shelf only; #2 - 5, all five topologies
Metering Signal present + wide range & numeric TP Signal present + wide range & numeric TP Signal present Signal present
Panorama Control Left–only, R–only, mono, stereo, L-R Yes Yes No (stereo–only) No (stereo–only)
Spectrogram Yes; can be disabled Yes; can be disabled No No
Tuning Yes; ƒ–snapping Yes; ƒ–snapping No No
Upgrades Yes; to thEQblue12 for additional cost No Yes; to SantaCruzEQ12 for additional cost No upgrade path to thEQblue

§ – For more on the architectures incorporated into thEQblue and SantaCruzEQ, see our Understanding EQ Architectures PDF.

‡ – Parallel architectures do not support L-R Panorama mode.

Learn More

This video from Friedemann provides a deep dive into both SantaCruzEQ and thEQblue

Why does it sound so excellent? It’s all about those curves…

Watch it directly on YouTube

Download — SantaCruzEQ User Manual

The user manual PDF includes a ton of useful info, check it out…

Download — Understanding EQ Architectures

This PDF provides detailed information for all of SantaCruzEQ’s twelve Architectures…

Session Compatibility between SantaCruzEQ12 and SantaCruzEQ6

Session interchange between the two versions can take two forms:
• Scenario A: A colleague uses instances of SantaCruzEQ6 in a DAW session, then sends the session to a colleague with SantaCruzEQ12. — All instances will open and work correctly.
• Scenario B: A colleague uses instances of SantaCruzEQ12 in a DAW session, then sends the session to a colleague with SantaCruzEQ6. — This scenario is only slightly more complicated…If the sender restricts their use to Architectures No. 1 through 6, then all instances will open as saved. If however, the sender uses Architectures No 7-12 in a saved session and sends that to their colleague, it will “snap” to Architecture No. 1 and may/will need to be remapped.

Reviews & Testimonials

Nikos "Rizon" Rizos — producer, mix engineer & loopmeister at RAW LOOPS

“First of all it sounds amazing! I don’t know what exactly is going on behind the scenes but it is superior in every aspect sound wise comparing to other EQ plugins.
It has a certain depth and keeps the signal’s integrity while sounding musical at the same time. Every time I tried to replace an emulation (Manley, Millenia, Neve, Sontec), by far I preferred SantaCruzEQ, sometimes with an extra transformer or preamp emulation after it if needed for some more colouration. But what makes it indispensable is that it retains the quality and characteristics of the material that passes through it. A well recorded, let’s say analog synth or drum machine, after passing through SantaCruzEQ is still a well recorded synth with some EQ on it, not a flat replica of the original.
I…was surprised by the depth and sonic accuracy it retains even with extreme settings. As the music we are involved in consists of deep subs and clean sine wave basses, many EQs fall short and loose depth and transient definition while managing those specific areas. That is not the case with SantaCruzEQ, it just does its job without messing with the signal. It is the first plugin we have heard that does that!”

Lawrence “Larry the O” Oppenheimer – musician, sound designer, journalist and game audio director (Mix, EM, JBL Professional, Lucas Arts, Meyer Sound)

I just wanted to drop you a line now that I’ve had a chance to live with the SantaCruzEQ for a while and tell you it’s become one of my very favorite EQs. Although I usually flip through the Architectures and listen to the difference, I end up almost always using №1 Classic Sys, 2 Classic Asym, or №9 Const-Q Ideal.
The thing I love about the sound is that it’s not clinical, but it is clear and defined, yet (sorry for this horrid cliché) warm. It is just a very sweet sounding EQ and the longer I have it, the more often I find myself throwing it on stuff. At this moment, I’m using it on the master bus of some video VO I recorded for my client Audio Modeling. All it needed was a little bit of low-mid dip after the master bus compressor, and I’m able to just get rid of the slight boominess without losing the body of the voice altogether.”

Alberto Rizzo Schettino, Fundamentals of Mixing || MAAT Digital Core Plug-ins

Schettino has created a comprehensive look at many of our products and how they fit together

Peter “Minimalistix” Bellaert – producer, composer & arranger

“Your SantaCruzEQ and thEQorange kill ProQ and many other EQs!! You’ve got the best EQ I ever heard, really!!”

Thomas Joren Nielsen — composer & engineer

“The high end on SantaCruzEQ is something of the gods. 10x better than oversampling on FabFilter Pro-Q3. And Neutron3 can kiss my ass. I really like having the algorithm (Architecture) options available too. Seriously, most plugins only have two “Digital Q or Analog Q” so this is something that really sets it apart. Will def be implementing this all over my mixes.”

Ali Ramadan — Toronto CA & RAK City UAE

“Your products are boutique…SCEQ is the only EQ I am using beside thEQblue and thEQorange (for mastering). It’s light, easy to use, flexible, effective and ‘analog sounding.’ I am addicted to Classic Asym, Const Q Asym, and parallel FF-FB.”

Arnold “DJ Kodi/Purple Avenue” Toutain

“MAAT SantaCruz EQ : Blown away !
I saw today a promo for SantaCruz EQ so gave it a chance & demoed it. For the moment it's the most incredible EQ that I had the opportunity to work with…
I mostly work in Pro Tools with PSP Neon (transparent), EQuilibrium (Swiss army knife) and stock Eq most of the time. I don't say that I will never ever use these plugins as I think they sound very well. But this thing…never heard such transparency or clarity in an EQ plugin for cleaning a mix or giving some air.
Tested SantaCruz against SSL X-EQ (supposed to be Algorithmix based) with Hofa A/B: I would say that Maat EQ sounds clean in a good way & never alter stereo image (solid sides). the SSL sounded great but changed the "panorama" of the songs.
  +  Pros: The sound!
  -  Cons : No meter, no analyzer & no mid/side processing

…this plugin is simply the purest EQ I had the opportunity to test. I bought it!”

Don Gunn — engineer (Death Cab, Frampton, Soundgarden, King Crimson)

“I purchased RSPhaseShifter and SantaCruzEQ this week and I'm EXTREMELY pleased with my decision; these are truly excellent sounding tools that are already making me question some of my other plugin choices...”

Alex Solano — Alex Pro Mix

Alex uses SantaCruzEQ’s Architecture №5, Proportional 3, to “…boost up the right amount of energy that’s already in a track…It has a particular sound that I like.”

Watch this “How to mix AFROBEATS (Drums and Log Drum)” episode directly on YouTube

Alex also does a breakneck run through of SCEQ as part of a “Plugin Ranker” video and, despite erroneous info about Q control via mouse, concludes, “…very impressive.”

Watch this “Plugin Ranker” episode directly on YouTube

Ignacio Ponce — Integraudio

Ignacio’s long form review includes audio example clips. SantaCruzEQ is given five out of five stars in all categories. His take: “SCEQ was a very transparent and useful tool…Not only was it effective at balancing and tweaking the different bands, but it also gives you a lot of different options when it comes to EQing according to your needs. If you want a more musical way of cutting or boosting, you have a specific Architecture for that…It's a very good overall plug-in with many capabilities that are at the tip of your fingers.
“The final verdict for SCEQ is positive. Being so versatile, complete, and feature-packed, there’s just no way you can go wrong with it. And besides the visual features, the developers at MAAT Labs have gone far and beyond to deliver the best possible sound experience with under-the-hood specs that give impressively low noise and distortion and high fidelity results.”

Trevon — Steady Sounds Music Group (via GearSlutz)

“I was at a studio today and i was mixing a track, but the song had alot of mud and resonance to it. No matter what I used I couldn't make it get clarity. I tried all my normal tools, but it either went harsh or lost some dimension. My buddy came in and said user maat eq and I tried it and with in minutes clarity and dimension…It is worth the hype they claim. Im buying tomorrow. Just other worlds better then the tools I was using before. Even Gullfoss couldn't help me.”

5 Cent (Gearslutz)

“I tested SCEQ and had to buy it. Fantastic workflow - on par with Pro-Q2/3, but in a different direction. The (playable) piano is a great idea and makes finding frequencies a breeze. Sound is good, too. I shot it out against Crave and in comparison that one sounded as if it was softening the signal whereas SCEQ did not. Still have use for Crave, but SCEQ has become my go-to mixing EQ :) Paired with preamp or console tone plugins this is making me use less AA EQs - except for Pultecery or other special cases…”

SantaCruzEQ actually improves on the original Classic PEQ Blue, since it uses the same algorithms as thEQblue, with increased precision for even finer low amplitude detail. Here are some thoughts on thEQb’s exceptional clarity for your consideration…

Stephan Mathieu — Schwebung Mastering

“thEQorange became my unrivaled critical EQ from day one on, period. Now that I’ve added thEQblue to my strictly selected palette of ITB processors, I can say that I’ve found my absolute dream team. So very well done, and I can’t wait for your version of the LP SplitComp to arrive, which most likely means that I’ll be able do all my ITB work with those three products. Maximal minimalism, my dream for 25 years coming true.
You know, the last 3 days I found the time to really deal with blue, and yesterday I started to become really excited with the MAAT EQ team. Not like having found a new toy, but having found a solution. I’m working all day with plugins since ’96 and something I’ve learned quickly is that I don’t want to use most of them but try to master only a handful instead. Here I go, and thanks again for that…Keep up the brilliant work.”

Sean Diggins — Digital Diggo Mastering

“thEQblue is a sleek, blue-sky clean “curve machine.” It's always about the curves and blue has the lot.”

Arpad Tchiba — classical engineer

“…Excellent, overwhelming! and looks beautiful. Thanks very much. It was absolutely worth waiting for.”

Dr. Heinrich Hohl — indy engineer

“I have bought and tested many other EQs. Flux Epure, Sonnox EQ, DDMF, BlueCat Audio, Brainworx Hybrid, FabFilter ProQ2 and many more. None of these could really replace the Algorithmix EQs…Things have changed now with the MAAT releases. I want to thank you for giving us back these stellar EQs for work on modern operating systems. After more than 10 years of waiting, I finally have my top EQs back!”

Here’s legendary mastering engineer Bob Olhsson discussing his beloved original, Classic PEQ Blue

“I still use blue and red…Blue and red remain unsurpassed sound-wise.”

TKFP (Gearslutz), also on the original Classic PEQ Blue

“You know mixing without blue, is like cereals without milk. So many good and usable EQs out there. Lets face it. Im a sucker for that good EQ tho. I really rely on it. I dont wanna see my new system running without it. That Algo stuff is still untouched. Its really good. Really good.”

Reviewers & Engineers! Go ahead, add your voiceover to the mix!

Head to our Contact page and give a shout…We’d love to hear what you think!

Speeds & Feeds

Downloads, Features & Specifications

Stay Current

Looking for the latest version of your software? Just download and install the demo! The installer will update everything and your license will take over when you next use the product.


• Download the user manual for SantaCruzEQ here

• Download Understanding EQ Architectures here


  • Four fully parametric minimum–phase Sections for complete versatility
  • Two Sections with parametric shelving or cut topologies for high or low frequency control
  • 80 bit internal precision blows away the competition for sound quality
  • Up to twelve unique idealized Architectures, derived from analog circuitry
  • Broad choice of cut, shelf and bell topologies
  • AutoGain for effortless A/B comparisons
  • Proprietary oversampling for “analog” sound at 44.1 and 48k


  • AAX Native (Pro Tools 10.3.10 and newer), AU, VST 2, VST 3
  • Sample rates from 44.1 to 384 kHz


VST PlugIn Interface Technology by Steinberg Media Technologies GmbH


  • Perpetual: One–Time Buyout…
      — SantaCruzEQ6 [Architectures No. 1-6]
      — SantaCruzEQ12 [Architectures No. 1-12]


  • macOS 10.9 and newer, 64 bit only
  • Windows 7 and newer, 32 & 64 bit

Order SantaCruzEQ Now

• SantaCruzEQ12: $259
• SantaCruzEQ6: $189

Try It Now