Eos 2 vs FabFilter Pro

**Description:** Eos 2 is Audio Damage's studio-quality algorithmic reverb, now with five custom reverb algorithms designed in collaboration with Sean Costello of Valhalla DSP. Available as an AUv3 App Extension for hosts like AUM, AudioBus, GarageBand, Cubasis, and Auria Pro, and as a standalone application. Five algorithms give you a broad palette of reverb for any production context. Three plate algorithms cover everything from tight, dark vintage plates to wide stereo ambience. The new Random Plate algorithm produces organic, evolving reflections that never quite repeat, and is beautiful on pads, keys, and vocals. SuperHall delivers the incredibly long, densely modulated hall sounds that Eos has always been known for: Eno-style ambience that simply isn't possible with convolution reverbs. The streamlined interface makes it easy to dial in exactly the sound you need, from a short, dense room on your drum bus to an infinite wash of sound on a synthesizer pad. **Features** - Five reverb algorithms: Mono Plate, Stereo Plate 1, Stereo Plate 2, Random Plate, and SuperHall - Full control over pre-delay, room size, decay time, attack, and diffusion - Rate and depth modulation for lively, animated reverb tails - Three-band EQ with adjustable crossover points to sculpt the tonal character of the reverb - Infinite mode for drones and sustained textures - Mix lock preserves your wet/dry balance when browsing presets - Resizable interface with real-time waveform display - Factory presets included, with full cross-platform user preset management - AUv3 App Extension and standalone application - Note: Eos 2 is a dense, heavily modulated algorithmic reverb. For best results on older devices, use a single instance as a send effect.

FabFilter Pro-Q 3 is a top-quality EQ plug-in with up to 24 bands, perfect analog modeling, dynamic EQ, linear phase processing, and a gorgeous interface with unrivalled ease of use. With its unique Natural Phase mode, it matches both the magnitude and phase response of analog EQing perfectly. Innovative features like Spectrum Grab and collision detection together with its intelligent interactive EQ display make Pro-Q 3 an absolute joy to use. The Pro-Q 3 app filters the microphone input and plays it back in real-time. To use Pro-Q 3 as a plug-in, you need an AUv3-compatible host app like Auria, AUM or Cubasis. Pro-Q 3 will appear in the list of Audio Unit extensions for effect plug-ins in the host app. Key features: - Professional mastering-grade EQ plugin with exceptional sound quality - Up to 24 bands with a huge range of filter types - (New) Dynamic EQ option for every band - Filter shapes: Bell, Notch, High/Low Shelf, High/Low Cut, Band Pass, Tilt Shelf, Flat Tilt (New) - 6-96dB/octave slopes for all filter types - (New) Additional Brickwall slope for the High Cut and Low Cut filters - (New) Per-band Stereo, Left, Right, Mid or Side mode - Zero Latency, Natural Phase and Linear Phase processing modes - Powerful real-time spectrum analyzer - (New) External spectrum visualization from any other Pro-Q 3 instance in the session, including collision detection - Spectrum Grab: grab and adjust a peak directly in the spectrum analyzer (Improved) - EQ Match for imposing the tonal characteristics of one signal on another - Extremely efficient processing and low memory usage - Intelligent multiband selection and editing - Intelligent band solo mode - Piano Display switches the frequency scale to musical note values - Separate Mastering (3/6dB) and Mixing (12/30dB) display ranges - Save, restore and organize presets - Optional Gain-Q interaction - Auto Gain and Gain Scale - Phase Invert option to change polarity - Large output level meter with peak level readout - MIDI Learn with option to control the currently active band - Undo/redo and A/B comparison "Pro-Q 3 is a wonderful update to an (arguably) already class-leading equalizer. The best just got better! Verdict: 10/10!" — Future Music Magazine "Pro-Q 3 is unarguably one of the finest EQ plug-ins around. [...]. Outstanding! Verdict: 10/10!" — Computer Music Magazine