In 1950, an unassuming audio engineer named Peter J. Baxandall won a $25 dollar watch for an innovative treble & bass circuit design. 64 years later, Goodhertz brings you Tone Control.
Designed with his original circuit in mind, Tone Control refines and expands the classic tone stack, creating a gorgeous, buttery-smooth equalizer with enough versatility for every track in your mix.
There are lots of EQ plugins out there, and almost every DAW now includes a basic parametric equalizer — so why make another EQ? Because Tone Control enables you to get the tone you’re after, better & faster.
Parametric EQ’s are great when you need em, but they often get in the way when trying to do big-picture tone shaping. That’s what Tone Control was designed for: broad strokes with the flexibility to accomplish most of your equalization in only a couple slider moves. The end result is less unneeded or ineffective equalization and better control of the depth, timbre, and closeness of the mix elements.
Not really. Although Tone Control’s shelving filters are inspired by some great passive, analog EQ’s of the past, it also incorporates features and improvements that are thoroughly modern: Master Air & Master Mix controls, variable slope low/high cut filters, and shelving filter shapes that would have never been possible in a passive/analog design.
Early on in our analog modelling work for Vulf Compressor, we discovered a tone circuit that perfectly captured the rolled-off high end & pillowy tone of an old vinyl record or tape machine run at a slower speed. It sounded amazing — warm, smooth, and woolly. For fun, we tried flipping the configuration to boost the high end rather than roll it off. The result was even more amazing — modern, airy highs without the slightest bit of harshness. This filter became the basis for the Master Air control and is totally unique to Tone Control.