Tiltshift is a new type of EQ plugin that does more with less.
More than any other equalizer, Tiltshift is able to dramatically alter the tone and timbre of your audio — going from mellow warmth to crystal clear with a single, loudness-matched slider — while sticking to the first rule of mastering: do no harm.
Although tilt EQ’s have been around since the 1980’s1, Tiltshift’s algorithm is a completely new & different approach to tilting and shifting the frequency spectrum.2 By using extremely gentle slopes (usually less than 1 dB per octave), Tiltshift is able to preserve the relative phase, frequency, and transient response of the audio much better than a traditional EQ can — allowing you to find to the right global frequency curve before focusing on specifics.
Tiltshift’s perceptual loudness lock technology keeps the loudness matched for any setting. This makes Tiltshift ideal for automating spectral shifts in a mix or master without having to compensate for unnatural gain changes.
One of the first and most popular tilt EQ’s was the Quad Model 34 analog preamp first released in 1982. ↩
Traditionally, a tilt EQ is simply an equalizer that uses two shelving filters working in opposite directions to “tilt” the frequency spectrum. Tiltshift uses a completely different type of algorithm that is far more transparent, allowing for extremely linear spectral changes that are not possible with analog-style shelves. ↩
Getting to know Tiltshift
Tiltshift’s frequency response for three tilt settings with a wide range
The guiding principle of EQ plugins often seems to be: more is more. More bands, more peaks, more valleys, more parameters to learn, and more metering to focus on. While we do appreciate a full-fledged multiband EQ when it’s needed, oftentimes, they’re not the best tool for the job. “More is more” also means more complication, more signal mangling, more phase distortion, CPU-usage, etc., and less productive mixing or mastering, less musicality and creativity.
So what if there was less in an EQ? Meet Tiltshift: superior tone-shaping, for anything from mixing to mastering.
- Incredible sounding tilt algorithm
- Variable tilt frequency range
- “Perceptual loudness lock” for perfectly matched loudness
- Completely automatable
- CPU-friendly enough to be used on every channel
- Independent high/low cut filters
- Totally variable filter slope (from 6 to 48 dB/Oct & anything in-between)
- Independently controlled resonance
- “Listen” function to audition what you’re filtering out
- Fully sweepable