Highest Possible Sound Quality, Unrivaled Interface Workflow
An equalizer is probably the tool you use most while mixing and mastering, so you need the best of the best. With FabFilter Pro-Q 3, you get the highest possible sound quality, a very extensive feature set, and a gorgeous, innovative interface with unrivalled ease of use.
24 band dynamic EQ with Dynamic Range and Threshold controls and an intelligent Auto Threshold mode.
Dynamic EQ bands still feature perfect analog EQ shape matching and also support Linear Phase mode.
Surround support (up to 7.1.2 Dolby Atmos), with intelligent per-band speaker selection.
Per-band mid/side or left/right processing options.
New Brickwall LP/HP filter slope.
New Flat Tilt filter shape.
Improved spectrum analyzer with frequency collision indication and the option to show the spectrum of any other Pro-Q 3 instance.
Improved Spectrum Grab with labels indicating the most important peaks.
Improved EQ Match, adding the possibility to match with a post spectrum from another Pro-Q 3 instance in your session.
Improved EQ band menu (also accessible via the value display), with Make Dynamic, Invert Gain options and more.
Improved Auto Gain with channel weighting and an estimated correction of dynamic gain for a better overall gain adjustment.
Mixing and mastering features
Pro-Q 3 offers everything that a demanding engineer could wish for: top-quality linear phase operation in addition to the zero latency and unique Natural Phase modes, smooth dynamic EQ, per-band mid/side processing, full surround support (up to Dolby Atmos 7.1.2), an intelligent solo feature, optional Auto Gain and a built-in, fully customizable spectrum analyzer.
Effortlessly sculpt your sound
FabFilter Pro-Q 3 is designed to help you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.
Unique features like Spectrum Grab, Full Screen mode and EQ Match will speed up your workflow even more. Try it yourself!
Of course, you also get all the usual FabFilter goodies: perfectly tuned knobs, interactive MIDI Learn, undo/redo and A/B switch, Smart Parameter Interpolation for smooth parameter transitions, an extensive help file with interactive help hints, sample-accurate automation, advanced optimization and much more.
Highest possible sound quality
Up to 24 EQ bands
New – Optional Dynamic EQ mode for all bands (Bell and Shelf shapes), using any slope setting and with perfect analog matching
Improved – Gorgeous Retina interface with large interactive EQ display, multi-band selection and editing for maximum ease of use and efficiency
New – Ultra-steep 'Brickwall' slope setting for LP and HP filters
New – Full surround support (up to Dolby Atmos 7.1.2) with intelligent speaker selection
New – External spectrum visualization from any other Pro-Q 3 instance, including collision detection
New – Per-band mid/side or left/right processing, so you can EQ the mid, side, left or right signals separately
Operates in zero latency mode, linear phase mode with adjustable latency or the unique Natural Phase mode
New – Flat Tilt filter shape, a flat tilting correction curve over the whole audible frequency spectrum
Improved – Spectrum Grab: just grab and adjust a peak in the real-time spectrum analyzer right away!
Different interface sizes and additional Full Screen mode
Universal filter slope support for all filter types, up to 96 dB/oct
Improved – EQ Match feature to automatically match the spectrum of another Pro-Q 3 instance or an external signal
Improved – Built-in spectrum analyzer with Pre-EQ, Post-EQ and external spectrum visualization, adjustable range, speed, resolution, tilt, freeze and collision detection
Auto Gain and Gain Scale
Optional piano roll display to quantize EQ frequencies to musical notes
Different display ranges: 3 dB and 6 dB ranges for mastering, 12 dB and 30 dB for mixing
Intelligent solo mode makes it easy to find problem frequencies and hear the effect of a band
Phase Invert option to change polarity
Large output level meter with peak level readout
Extreme CPU optimization: Pro-Q 3 uses very little CPU and memory, so you can use hundreds of instances in a session
GPU-powered graphics acceleration
Double-click text entry of parameter values
Improved – Supports stereo, mono and surround channel layouts (up to Dolby Atmos 7.1.2)
Supports common Pro Tools hardware control surfaces
Improved – MIDI Learn with option to control the currently active band
Undo/redo and A/B comparison
Smart Parameter Interpolation
Sample-accurate automation of all parameters
Extensive help file with interactive help hints
Available in VST, VST3, Audio Units, AAX Native and AudioSuite formats (all both 64-bit and 32-bit)
All FabFilter plug-ins are available in VST, VST3, Audio Units, AAX Native and AudioSuite formats (all both 64-bit and 32-bit).
64-bit: Windows 10, 8, 7 or Vista
32-bit: Windows 10, 8, 7, Vista or XP
VST 2/3 host or Pro Tools
Mac OS X
OS X 10.8 or higher
AU or VST 2/3 host or Pro Tools
What's new in version 3.10?
Added optional external side chain triggering to EQ bands. To use this, first click on the Auto Threshold button above the dynamic range ring to enable custom threshold mode. Next to the threshold slider, click the new External Side Chain button to enable or disable triggering on the external side chain input.
Made the Processing Mode and Processing Resolution parameters non-automatable, to prevent automation from changing the latency during playback. In addition, all interface-only parameters such as the analyzer settings are now also non-automatable.
Fixed bugs that could cause ringing sounds or sweeping filter effects when using higher order dynamic filtering.
It is now possible to solo disabled bands again, like in Pro-Q 2.
Fixed a bug that prevented copying and pasting automation from marking all parameters as changed in the preview buffer in Pro Tools, making it impossible to overwrite existing automation.
Fixed a bug that caused the gain of a band to jump to zero when using the mouse wheel to adjust the Q in solo mode with the Gain-Q Interaction option enabled.
Fixed a bug that caused the interface to become all white after double-clicking to edit a text value in the Audio Units plug-in in Ableton Live 10 on macOS 10.13.
Fixed an issue that could cause the Audio Units plug-in to freeze for a while in Ableton Live when adding new bands.
Fixed a bug in the EQ display that made it impossible to enter permanent spectrum grab mode when already in spectrum grab mode.
Fixed a crash when entering EQ Match mode when there is no "stereo" yellow result curve in the EQ display (for example, if there are only Mid bands).
Updated plug-in for full compatibility with Mac hosts built specifically for macOS 10.14 (Mojave), such as Logic Pro 10.4.4, running under macOS 10.14.0 or 10.14.1. Previously this could lead to an all-black plugin interface.
Improved the way settings are saved when multiple plug-in instances are open to make sure the last setting that was chosen is saved correctly for new instances.
Added support for 300% scaling on 8K displays (High DPI) on Windows.
Fixed an issue that could cause incorrect scaling of the plug-in interface in Cubase 10 or Live 10 on High DPI displays in combination with certain graphics drivers on Windows.
Added a Refresh item to the Options submenu of the presets menu: this makes it possible to manually refresh the menu (and any V1/V2 Preset Folder submenus if available).
Fixed a bug on Mac that could cause program changes received by one plug-in to be forwarded to other FabFilter plug-in instances.
Various minor bug fixes and improvements.
What's new in version 3.0?
New - Optional Dynamic EQ mode for all bands (Bell and Shelf shapes), using any slope setting and with perfect analog matching
New - Ultra-steep 'Brickwall' slope setting for LP and HP filters
New - Full surround support (up to Dolby Atmos 7.1.2) with intelligent speaker selection
New - External spectrum visualization from any other Pro-Q 3 instance, including collision detection
New - Per-band mid/side or left/right processing, so you can EQ the mid, side, left or right signals separately
New - Flat Tilt filter shape, a flat tilting correction curve over the whole audible frequency spectrum
Improved - Gorgeous Retina interface with large interactive EQ display, multi-band selection and editing for maximum ease of use and efficiency
Improved - Spectrum Grab: just grab and adjust a peak in the real-time spectrum analyzer right away!
Improved - EQ Match feature to automatically match the spectrum of another Pro-Q 3 instance or an external signal
Improved - Built-in spectrum analyzer with Pre-EQ, Post-EQ and external spectrum visualization, adjustable range, speed, resolution, tilt, freeze and collision detection
Improved - Supports stereo, mono and surround channel layouts (up to Dolby Atmos 7.1.2)
Improved - MIDI Learn with option to control the currently active band
What's new in version 2.12?
Fixed possible crashes in Logic Pro X, which occasionally tries to initialize plug-ins with invalid/uninitialized buffers.
Fixed possible crash in Nuendo 7 on macOS when closing a plugin.
Fixed issues with key stroke stealing on Windows when using the Avid S6 control surface.
Fixed incorrect appearance of plug-in interfaces in Live 10 in High DPI mode.
The VST 2.4 plug-in will now automatically adapt its channel layout to match the audio/track it is placed on. Note that the separate "(Mono)" version of the plug-ins are still included for backwards compatibility.
Fixed a bug that could cause a crash when moving the mouse over the right edge of a menu with icons.
Small bug fixes and improvements.
Fixed an issue with Natural Phase mode, which could sporadically lead to an incorrect filter frequency response when processing audio at very small block sizes.
Fixed a bug which caused Permanent Spectrum Grab in Pro-Q 2 to disappear when the input of the VST3 plug-in became silent.
Fixed a bug that caused the spectrum analyzer to slow down when moving the mouse over the EQ display, with graphics acceleration disabled.
Sample rate information is now included when saving an EQ Match spectrum, so it can be restored correctly when using a different sample rate.
In EQ Match, the 'Save Input as Reference' option now checks whether the plug-in is receiving audio on the input.
Fixed a bug that caused the colors of EQ bands 9 to 24 not to match with the highlight coloring around the floating band controls.
Fixed a small bug when right-clicking the solo button in the EQ parameter value display: this would cause the button to remain in the down state.
What's new in version 2.1?
Improved EQ Match feature so you can save the input spectrum as a reference spectrum. When opening EQ Match, you now have various choices to use as the reference: a previously saved reference spectrum, the main plug-in input or the side chain input. This makes it much easier to set up and use EQ Match.
Added Permanent Spectrum Grab mode: click and hold in the spectrum area until the spectrum freezes and turns blue. You can now grab multiple peaks in the frozen spectrum, unlike the regular Spectrum Grab mode which only allows you to grab and adjust a single peak. Just click once on the background to exit Permanent Spectrum Grab mode.
The frequency scale at the bottom of the interface now displays the frequency under the mouse cursor if you hover over the display or move the mouse slowly. If the piano display is enabled, the key under the mouse cursor is highlighted and its note number is shown. You can turn this on or off by clicking Show Frequency On Hover in the Help menu.
Added a workaround for a bug in Ableton Live on Mac that could cause the Q parameter for a band to be reset to its minimum value when dragging it around in the AU plug-in version of Pro-Q 2.
Added a workaround for a bug in Ableton Live that caused latency compensation to work incorrectly when loading a session that sets the parameters such that the plug-in doesn't have latency, in combination with a default preset that does introduce latency. This only occurred with the VST plugin format and caused Live to use the latency from the default preset.
Improved Avid S6 page tables mappings in the AAX plug-ins, now more closely following Avid's conventions for a better workflow.