LinearPhaseGraphicEQ 2 Review: Transparent EQ for Modern Producers

How to Use LinearPhaseGraphicEQ 2 for Pristine MixingLinearPhaseGraphicEQ 2 is a precise, transparent tool designed for engineers and producers who need surgical control without introducing phase distortion. In this article you’ll learn what makes it different from minimum-phase EQs, when to choose it, step-by-step workflows for both corrective and creative tasks, mixing tips, practical presets, and troubleshooting advice to keep your mixes sounding clean and full.

What is Linear Phase Graphic EQ?

A linear-phase graphic equalizer preserves the phase relationships between frequencies while adjusting amplitude. Unlike minimum-phase EQs (which introduce phase shifts that can alter the timing relationship between frequencies), linear-phase designs keep all frequencies aligned in time. This is especially valuable when:

• Combining multiple tracked sources that occupy similar spectral regions (e.g., layered synths, doubled vocals).
• Applying broad-spectrum corrective shaping on full mixes or stems.
• Mastering, where phase consistency preserves stereo image and transient clarity.

Key fact: Linear-phase processing avoids phase distortion at the cost of increased latency and potential pre-ringing.

When to Use LinearPhaseGraphicEQ 2

Use LinearPhaseGraphicEQ 2 when you need transparency and phase coherence:

• Mastering and final bus processing.
• Subtle corrective EQ across a full mix or drum bus.
• Surgical cuts on layered harmonics (vocals, strings, pianos).
• Fixing frequency masking between stereo elements.

Avoid it when low-latency tracking or punchy transient response is required (e.g., live tracking) because linear-phase can introduce latency and pre-ringing that slightly softens transients.

Interface Overview & Key Controls

LinearPhaseGraphicEQ 2 typically offers:

• Multiple fixed-band sliders (e.g., 31-, 45-, or 1024-band variants).
• Global sample-rate aware processing and oversampling options.
• Slope/Q control per band (or fixed Q for graphic-style).
• Mix/blend (dry/wet) control for parallel processing.
• Latency compensation or delay compensation readings.
• Solo or listen per band for focused adjustments.
• High-pass and low-pass filters with linear-phase curves.

Familiarize yourself with latency compensation in your DAW when inserting the plugin on real-time tracks.

Step-by-Step Workflows

Corrective Mastering EQ (Full Mix)

1. Insert LinearPhaseGraphicEQ 2 on the master bus as the final tonal stage after compression and limiters (or before final limiter for glueing adjustments).
2. Use a gentle high-pass to remove subsonic rumble (e.g., 20–30 Hz).
3. Sweep wider bands to identify problem frequency regions: small boosts (1–2 dB) to reveal masking, then cut offending bands by 1–3 dB.
4. Make broad, gentle shelves to shape tonal balance (e.g., +0.5–1.5 dB presence at 3–6 kHz).
5. Use the mix control for parallel processing if you want subtlety without fully committing to the linear-phase curve.
6. A/B with bypass and toggle latency-compensation aware monitoring to ensure phase alignment within the DAW.

Fixing Masking on a Vocal Stack

1. Put LinearPhaseGraphicEQ 2 on the vocal bus or individual doubled tracks.
2. Solo the problematic vocal and sweep to find honky or muddy areas (200–600 Hz for muddiness; 1–3 kHz for harshness).
3. Apply narrow linear-phase cuts (1–4 dB) rather than wide boosts to preserve natural tone.
4. If multiple layered vocals clash, use complementary cuts across takes to carve space without altering timing.

Drum Bus Transparency

1. Use linear-phase to apply gentle boosts to cymbals and crashes while cutting unwanted midrange build-up.
2. Use separate instances on overheads and room mics to keep phase coherency between drum elements.
3. Keep Q moderate to wide to avoid ringing artifacts; linear-phase can pre-ring on very steep, narrow boosts.

Presets & Starting Points

• Mastering – Gentle Balance: low cut at 20–30 Hz, -1–2 dB around 300–500 Hz, +0.8–1.5 dB at 3–5 kHz, +0.5 dB above 12 kHz.
• Vocal Clarity: narrow cut 200–400 Hz (-1.5 dB), narrow cut 2.5–3.5 kHz (-1 to -2 dB), slight air shelf +0.8 dB above 10 kHz.
• Tight Drums: high-pass 30–40 Hz, -1.5 dB 200–350 Hz, +1 dB 5–8 kHz.

Treat presets as starting points—small adjustments matter.

Practical Tips

• Use solo/listen per-band sparingly to identify targets, then disable to judge in context.
• Compensate latency in tracking situations or avoid linear-phase on close-miked transient-heavy sources.
• Compare linear-phase vs minimum-phase: sometimes minimum-phase with gentle Q sounds more natural on percussive elements.
• For automation, avoid drastic real-time sweeping of many bands; linear-phase’s latency and potential audible artifacts can occur with rapid parameter changes.
• If you hear pre-ringing (odd smearing before transients), switch to minimum-phase or use the plugin in parallel with dry signal.

Troubleshooting Common Issues

• Mix sounds smeared or less punchy: reduce linear-phase usage on transients, lower Q, or mix dry/wet.
• Noticeable latency: enable DAW delay compensation or render offline for final processing.
• Pre-ringing artifacts: use gentler slopes, fewer narrow extreme boosts, or switch to minimum-phase for that track.

Example Signal Chain Ideas

• Vocal (tracking) chain: Mic → Preamp → Compressor → Minimum-Phase EQ (tracking) → delay-compensated LinearPhaseGraphicEQ 2 (final tuning, offline) → De-esser → Reverb.
• Master chain: Sub-bass cleanup (linear-phase HPF) → Gentle linear-phase graphic for tonal balance → Multiband compression → Limiter.

Final Notes

LinearPhaseGraphicEQ 2 excels when transparency and phase coherence are priorities, particularly in mastering and multi-mic/stem scenarios. Use it thoughtfully—small cuts, broad adjustments, and awareness of latency/pre-ringing will yield pristine, mix-friendly results.