Universal Audio releases Dangerous Bax EQ Plug-in Collection for UAD systems

Do we need another EQ? Brainworx and Music Digital think so.
Do we need another EQ? Brainworx and Music Digital think so.

Created by Brainworx in conjunction with Dangerous Music Digital, the Dangerous Bax EQ Plug-in Collection is designed to "shape and enhance the tonality and character of your music".

It's based on Peter Baxandall's 1950s EQ, and is said to sweeten up material "by simultaneously employing broad, open curves and gently sloping cuts". It comes in Mix and Master flavours: the latter is a stereo version that offers mid/side processing options that weren't on the original hardware.

"When designing the Bax EQ we asked ourselves, 'Does the world really need another equalizer?'" says Bob Muller, President of Dangerous Music. "We wanted to do something special and unique, more of a tone control-style finishing EQ that would not alter the essential character of the audio. We just wanted to make it sound better while allowing the user to shape the sound in ways that are not possible with a conventional EQ."

The Dangerous Bax EQ Plug-in Collection is compatible with UAD-2 and Apollo interface hardware and costs $249. It's available now from the UA Online Store.

Dangerous Bax EQ Plug-in Collection features

  • Based on Peter Baxandall's legendary 1950s EQ circuitry
  • Modelled exactly after the original Dangerous design, schematics, and hardware
  • Low Frequency cut filters dial-out unwanted subsonic frequencies, cleaning up low-end rumble and increasing headroom
  • High frequency filters tame high-end harshness
  • Broad Q Shelving for a natural, open character
  • New Mid/Side function on stereo EQ Master version — not found on the original hardware
  • Linked controls mode on EQ Master version
  • Requires UAD-2 DSP Accelerator Card or Apollo Interface, available from authorized dealers worldwide
Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.