Feature-wise, it’s very much an EQ of its time, with a switched-frequency mid-section and a fixed 10kHz high-shelf control that has a -6 to +16 gain range. The bass band functions as a 50Hz shelf filter, offering five stepped gain values between -3 and -15 dB, or alternatively as a peak EQ with four stepped centre frequencies at 60, 100, 200 and 300 Hz. The mid band can operate in cut or boost modes, and has eight centre frequencies ranging from 700Hz to 6kHz. Bandwidth is not adjustable, and there is a 16dB gain range.

This EQ also features a phase switch, an EQ Cut switch (which leaves the level control and other circuitry still in circuit) and an output level control. Simple it may be, but this EQ has a wonderfully focused sound, able to lift instruments out of a mix in an effortless way. I particularly like the mid-range, and though most changes can be made with relatively little EQ, this one still sounds sweet if you need to add a lot of boost. Internal upsampling is used to work this plug-in’s magic, which means that its latency may be noticeable if it’s applied while tracking.  

Harrison EQ

This characterful equaliser is a four-band peak design with high- and low-cut filters plus Auto Q, which automatically adapts the effective filter bandwidth depending on the EQ settings. All four of the main EQ sections have swept frequency controls and ±10dB of gain adjustment, with separate ‘In’ buttons for the main EQ and the filters, while the low band can be switched to peak or shelving mode. Like the Helios, this EQ has that ability to lift elements within a sound or mix without compromising the overall sound, and it is easy to see why engineers liked to mix with it. In anticipation of the temptation to run multiple channels, there’s also a DSP-light version. Interestingly, both versions seem to make the sound very subtly louder and more airy-sounding when in circuit, even with the EQ set flat.

Low-pass, high-pass and band-pass modes are on offer, plus an envelope follower and an LFO providing six wave shapes with host tempo synchronization. The filter can process mono or stereo tracks, and added features such as Spacing and Offset allow you to create stereo effects by processing the two channels slightly differently or at different times. and can be driven from the LFO or automated or triggered using the envelope of the input. A DSP-friendly ‘light’ mode is also included, but the ‘full fat’ version’s Drive control is not available on this version, as computing the characteristics of the overdrive takes a lot of CPU horsepower. The filter sound is extremely convincing, and if you want to make things go ‘zwee’, this is the plug-in for you!

The three main bands each offer a selection of switched frequencies within the high shelving (10, 12 or 16 kHz), mid (350Hz, 700Hz, 1.6, 3.2, 4.8 or 7.2 kHz, with two Q settings) and low shelving (220, 110, 60 or 35 Hz) bands. As with the other EQ plug-ins, there’s a noticeable, if subtle, change in character when the EQ is in circuit with all the controls set flat. The GUI has the same ‘bass on the right’ layout as the originals, and makes use of dual-concentric switches and pots originally chosen to conserve panel space. Tonally, the Neve sounds warmer and more coloured than the Helios and Harrison EQs, but that’s part of its charm.

With its quirky, lever-operated control panel switches, the EMT 250 plug-in produces a clean, open reverb sound, which may be a lot to do with the limited digital horsepower available when it was designed, and to my ears it has something of a plate-like character but with noticeably less density. It is very flattering to vocals, and doesn’t push them back in the mix to the extent that some reverbs do. In addition to reverb, the unit also produces up to 370ms delay, phasing, chorus, echo and ‘space’ (a long reverb where all frequencies decay at the same rate) effects. Relatively basic adjustment of the effect parameters is possible via the four lever switches, the functions of which (apart from pre-delay) change with the effect mode. It’s very simple but at the same time very characterful. The Register or clip indicator on this plug-in indicates when its internal registers are at their maximum values, and by deliberately overdriving the plug-in you get the same clipping as with the original.

Though it sounds far from natural, the Cooper Time Cube became popular for its short delay and doubling effects, which have a somewhat dull and coloured tonality that helps them sit back in the mix. Many leading studios still have one tucked away for special occasions! The designers of the Cooper Time Cube MkII plug-in have gone to great lengths to recreate the resonances and reflections that gave the original its character, but they’ve also added a few concessions to the demands of the new century, including Delay, Decay, Pan and Volume controls, plus tempo sync of delay time and automation for each of two independent delay lines (pipes). Incredible as it may seem from such an odd idea, the sound you get from this unit sits very well in a mix, lending a nice, vintage, homogenous character.

A bonus part of the FATSO Jnr Powered Plug-In is the inclusion of a Senior version with an additional control panel based on Dave Derr’s concept of a FATSO Senior model where side-chain filtering, filter frequencies and time constants can be adjusted. While tinkerers may love this, the basic Jnr control set seems more than adequate for any ‘normal’ work. The Jnr controls consist of two presets, one for general-purpose tracking and one for bus compression, plus a third setting called Spank, which modifies the chosen preset to produce a more assertive, limiter-type compression designed to emulate that over-the-top squeeze from the older SSL talkback compressors, but with better overall sound quality. Perfect for making aggressive things even more aggressive! Adjusting the input drive controls the amount of compression, which is registered by a gain-reduction meter at the bottom of the panel. Again, a DSP-light SE version of the plug-in is also included.

While there are countless applications of this plug-in for treating individual tracks, it also makes a fabulous bus compressor for adding a touch of analogue magic and density to a mix, while at the same time seeming to bring all the elements into sharper focus. Definitely one to have on your team, if you can. (While the other plug-ins reviewed here work on UAD1 and UAD2 cards, the FATSO, EMT 250 and Cooper Time Cube emulations are only available for the UAD2 platform.)

Of course, phase problems are best addressed by adjusting mic placement, and can often be dealt with using simple positive or negative track delay, but the Little Labs IBP’s continuously variable time delay adjustment knob (range 0.0 to 4.0 ms) makes setting up much more intuitive. There’s also a phase adjuster, implemented in the analogue version by a network of all-pass filters. The amount of phase adjustment is necessarily frequency-dependent, as phase is related to frequency.

The range of Phase Adjust is either 90 or 180 degrees, dependent on the setting of the Phase Adjust switch. Because the shifting effect is frequency-dependent, you don’t get perfect cancellation at a 180-degree setting, but that’s part of the character of the device. Switches are provided to bring the delay and phase-adjustment knobs in or out of play, and you can also invert the polarity of the input signal. Lo/Hi sets the range of frequency emphasis of the filter, which can be useful on instruments that have a specific pitch, such as kick drums or toms.

The Little Labs IBP plug-in uses internal upsampling and so increases latency when in circuit. As you’re most likely to use it after recording, this won’t be a problem as long as your DAW includes plug-in delay compensation, which the majority do. Simple though this plug-in seems, it can greatly improve the sound of a guitar amp with two mics at different distances, or a mic-plus-DI situation. You can also get some interesting guitar (and other) sounds by playing with the phase shift between the two sources until you hear a tone you like, so there’s plenty of creative mileage here too.