#FABFILTER PRO Q 3 TUTORIALS MANUAL#
Attack, release and ratio are fully automatic, as is the threshold by default, though this can be switched to manual control. What you don't get in Pro‑Q 3's dynamic bands is much control over the actual dynamics parameters. And FabFilter fans won't be surprised to learn that they have indeed found a way to do this. FabFilter fans will, of course, be well aware that the company already make the superb Pro‑MB, which provides versatile frequency-dependent dynamics processing, so the question on many lips was how they would manage to introduce this into Pro‑Q without either duplicating Pro‑MB functionality or creating a pale imitation of it.
#FABFILTER PRO Q 3 TUTORIALS UPDATE#
Launched late in 2018, the third major update to Pro‑Q is likewise packed with functionality, and the headline feature this time around is dynamic equalisation. The v2 update in 2014 added a swathe of new capabilities the one I use all the time is the 'tilt shelf' curve, which is perfect for transparently rebalancing the tonality of a source or a mix, while other v2 highlights included 'match' EQ, a freely resizable window and greatly improved analysis features. The Pro‑Q user interface has been widely imitated since its debut in 2011, but FabFilter haven't stood still. It sounds good, it's amazingly flexible, and best of all, its graphical interface makes it a joy to use. I'm not sure if there is such a thing as a desert island EQ plug-in, but if I was stranded on a Pacific atoll with only one tool to tackle problematic audio files, FabFilter's Pro‑Q would be that tool.
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