Each band goes through a real operating stage—voiced by discrete circuits that define what the EQ can do to the sound, not just the frequency. Push it, and it returns warmth, density, and harmonic weight. Pull back, and the signal becomes cleaner, more transparent. This character is always present, whether you’re shaping the frequencies or not.
Turn off the band, and the op amp remains in the circuit. Without drawing the EQ curve, you get the harmonic color that hardware equalizers only produce with strong boost. This is the band saturation mode: the op amp’s character at a specific frequency is completely independent of your EQ adjustments.
Contour bands take the classic boost-and-cut technique—one engineers have been reproducing for years with two separate filters at a single frequency—and do it in a single band. One stroke. Focused boost, automatic complementary cut, no congestion at surrounding frequencies.
Push the Fairuz to its limits: bold Contour boosts, full Hammer drive, and op-amp saturation in each group. Then blend back in with MIX to taste. The full character—as much or as little as you like.
Four op-amp EQ bands with three filter shapes: Bell, Contour, and Contour X2
Band Saturation Mode: decouples the op-amp from the EQ curve for
frequency-focused harmonic character Proportional Q: soft boosts remain wide, big boosts are focused automatically
; Stepped or Continuous Frequency: stepped points selectable by ear, with intentional gaps avoiding problem areas
. Infrasonic circuitry TREMOR: sub-bass foundation before the input transformer EQ
VOICE: harmonic drive establishing the tonal stage
. Hammer Output Transformer: Case, density, and saturation on
LO and HI output shelves with complementary
dip behavior of HPF and LPF with switchable HPF position (before or after transformer)
MIX: Parallel wet/dry mixing with no additional
DAW routing Dual Mono: True stereo hardware behavior for buses and groups
Oversampling for best harmonic behavior at standard
sample rates Zero latency
