In 2013, Steinberg announced that they would no longer support the software development kit (SDK) for the VST2 plug-in format, but the SDK itself would still be available as a subset of the VST3 SDK. Then in May 2018, Steinberg announced that, starting in October, a subset would be eliminated. If you are impatient and just want to summarize this article, here they are: VST 2.4 plugins will work great for a very long time. Most hosts are more than happy with VST3 versions. They are at least as good as VST 2.4 versions and may even offer some advantages.

VST is an interface specification of how the plugin interacts with the host, so performance depends on the code, not the specification. Plugins VST2.4 and VST3.0 have a common code base, and almost all internal code is identical, therefore, this does not affect the processing of audio material. MYTH 2: VST3 plugins are not more effective. ILok generation 2 and up, if you intend to use a physical iLok dongle for authorizing your plug-ins (note that an iLok dongle is not a requirement). In theory, any 64-bit VST, VST3, AU, or AAX (11.0.2 or higher) compatible host application should work. The most recent maintenance release of the DAW application is recommended. If a plugin does not show up check cubase's blacklist in Usersusername AppData Roaming SteinbergCubaseversion Plugins being resized are up to the developer of the plugins. I havent heard of that being exclusive to VST3 though, as U-he's plugins are resizable in vst2 versions as well. I guess to be a leading DAW in 2019, Studio One should allow us to resize stock plugins. There are some stock plugins that easier to read on high resolution while some of them not. It would be awesome to have resizable stock plugins. Please vote if you are agree with me.

So how important is migration to VST3? Let’s start by breaking down a few myths.

MYTH 1: VST3 Plugins Are More Effective

VST is an interface specification of how the plugin interacts with the host, so performance depends on the code, not the specification. Plugins VST2.4 and VST3.0 have a common code base, and almost all internal code is identical, therefore, this does not affect the processing of audio material.

VST plug-ins are instruments and effects from third party manufacturers which can be installed and used in Live. VST2 plug-ins use the.dll file extension. VST3 plug-ins use the.vst3 file extension. How to install and activate VST plug-ins on Windows. Download the latest installer file from the plug-in manufacturer's website and run it. If there is one thing you should learn before using an EQ, it should be selecting good samples or instruments right off the bat, this way, you won’t need to fight with the eq, and thus eqing would be a breeze. Having said that, let’s go over the best EQ VST plugins I have ever come across, starting with 1.) MAutoDynamicEQ by MeldaProduction. Label the new folder as “Plug-ins”. Drag it into your Sidebar Favorites section to make it available as a shortcut there. Go to your VST plug-ins folder. Right click on each plugin you want and choose “Create shortcut” (multi-selection works too). Move these shortcuts to your new folder, and create sub-folders to organize.

MYTH 2: VST3 plugins are not more effective

Plugins – no, but they can be disabled when the data is not processed. This is not unique to VST3; Developers were able to implement this using old technologies. However, VST3 is a standardized method that works as long as it is implemented by both the host (see Figure 1) and the plug-in manufacturer (like MIDI, manufacturers can choose what to support in the VST3 specification – for example, just because the keyboard supports MIDI does not mean that it implements a polyphonic subsequent touch).

MYTH 3: VST3 is buggy, so it’s best to stick with VST 2.4 now

The VST3 specification has been around for 10 years, and implementation has been relatively slow since the early release was stable. But during these 10 years, manufacturers improved their code and, in general, fixed any possible errors, so VST3 plugins are as reliable as v2.4. Remember, the problem is not in the specification itself, but in its implementation. You can set both types if you want, because plugins themselves usually do not take up much space (their libraries and samples take the place of tools). But also note that many companies are more actively developing and debugging their versions of VST3, while earlier versions are updated with delays.

MYTH 4: Now that there is VST3, VST 2.4 plugins are deprecated

Any host can freely support VST 2.4 and / or VST3 (Fig. 2). If the program supports your VST 2.4 plugins, it will continue to do so unless the manufacturer specifically removes this support. Please note that the lower part of the graphic icon is different for the two types, and if you click the plugin, the supplier, type and category, as well as a link to the manufacturer’s website are displayed in the information bar at the bottom. In the end, developers can stop releasing VST2.4 as soon as VST3 captures most of the music market.

MYTH 5: Ableton Live Cannot Use VST3 Plugins

Although there is no built-in support for VST3, the Metaplugin DDMF plugin will help to install them. You can put it as a plug-in in Ableton Live, and then put VST3 in it.

MYTH 6: You must install the VST3 plugins in a specific location on the system drive

This is a preference, not necessarily an iron rule. Actually, this may be good, because when you create a system disk image, you back up your plugins as well. But you can usually install them wherever you want (in Windows, directory connections can point to the standard VST3 folder on any drive).

MYTH 7: You must have VST3 side chain plugins

Not necessary. Several hosts and plugins have implemented side binding with VST 2.4 over the years.

MYTH 8: VST3 has many interesting new features that are not available in versions of VST 2.4

Potentially yes. If a product was developed exclusively for VST3, it is likely to take advantage of at least some improvements. However, during the transition, many developers created VST3 plug-ins with the same basic features as their version of VST 2.4.

MYTH 9: VST3 is no different from VST 2.4. It is just a hoax; there are no real improvements

VST3 is a remake of VST 2.4 and, in fact, is a new platform.

Consider some of the benefits:

• A sample of precise automation. The manufacturer should implement this, but this is a significant change compared to VST 2.4.
• Hierarchical plugin and classification of automation parameters. Some people think that categorizing plugins (Fig. 3) is a drawback, because they cannot organize them as they like (although most hosts provide some kind of manager, it doesn’t matter in this case). But when you want to automate parameters, VST3 plugins can make life much easier if the manufacturer used the options for categorizing parameters.
• Grouping all filter automation parameters into the Filter category is much better than a huge list of automation parameters with a seemingly random arrangement.
  VST3 SDK is a free technology available to any developer.
• Dynamic I / O allocation. VST 2.4 plugins used to have a fixed number of inputs and outputs, but this is no longer the case – VST3 plugins can adapt to the channel configuration in which they are delivered. Place the plug on the stereo bus and it will be stereo. Insert it on the surround bus and it will be surround. You can also create sound buses, which simplifies cross-modulation and vocoder. But then again, these features are manufacturer dependent.
• With VST3 you can turn off unused outputs, but turn them back on if necessary.
• Resize the window. This is certainly welcome, given that monitors have a wider range of resolutions than when VST was introduced back in 1996 (and for the future, “Macarena” was better than the song of the year. Just a quick note).
• Virtual instruments support several MIDI ports that you can switch on the fly. And who doesn’t like a few MIDI ports?
  It is much easier to search and find your plugins. VST3 have the suffix .vst3 instead of the common suffix.
• Plugins can have a dedicated “event bus”. Although it is currently intended for MIDI control input, there is no reason why it could not comply with any future non-MIDI standard.
• VSTXML for remote controllers. No, the cat didn’t walk on my keyboard. VSTXML is a protocol that simplifies the creation of remote controllers for audio and MIDI applications. It can even display non-editable parameters such as measurement.
• Multilingual design. All user-oriented character strings are presented in Unicode format, which allows displaying characters in any language (including Russian – which means “including Russian”) to facilitate localization.

That sounds great, right? But remember, VST3 is not a specification similar to AES / EBU interfaces or the Red Book CD – it is a set of well thought out recommendations.

Disclosure: When you buy through our links, we may get a commission at zero cost to you.

An equalizer is a tool that is used to change the balance of different frequency bands in an audio signal. Equalizers are used to correct or attenuate unwanted sounds (rumble sounds, or a low hum from a guitar amplifier, etc).

The most common use of equalization is using it to adjust the frequency balance of individual instruments and or voice to fit individual elements within the overall frequency spectrum of the mix.

If there is one thing you should learn before using an EQ, it should be selecting good samples or instruments right off the bat, this way, you won’t need to fight with the eq, and thus eqing would be a breeze.

Having said that, let’s go over the best EQ VST plugins I have ever come across, starting with…

1.) MAutoDynamicEQ by MeldaProduction

When we are talking of Dynamics processors, we are majorly referring to compressors, and or expanders, which on its own dynamically manipulates the overall level of audio material, and an equalizer is a tool that is used to change the balance of different frequency bands in an audio signal.

What if we combine both together? Well, that is what MAutoDynamicEQ is all about, it bridges the gap between a Dynamic processor and an equalizer, it is a plugin for manipulating the spectral character, and can also react to input levels, now that we know that, let’s get to know some of its major features…

MAutoDynamicEQ doesn’t just support the ability to work on multiple bands, it also has a separate level processor, so, you can say this plugin is a band and a dynamic processor. All the settings for the band are on the Band Settings window, which is displayed by right-clicking the band number on the equalization graph or on the band list.

It also supports Automatic equalization, it would automatically equalize your recording if off course the recording isn’t too bad right from the start. The way it does this is to first analyze your recording, this can be started by pressing the playback and pressing the Analyse target button, you then get a source or predefine analysis by using the load button; what you want the end result to sound like and you finally click equalize, and it is as simple as that.

The automatic equalization is powered by Melda Production’s Filter Adaption technology a.k.a MFA , the good thing about this is that it can perform your equalization for you based on an analysis of your recording, another recording, or even your own ‘drawn-in’ spectral content!

►Key Features:

• The most advanced user interface on the market – stylable, resizable, GPU accelerated
• Unique visualization engine with classic meters and time graphs
• exceptionally versatile modulators
• Adjustable oscillator shape technology
• 4 multiparameters
• M/S, single-channel, up to 8 channels surround processing…
• Smart randomization
• Automatic gain compensation (AGC)
• Safety limiter
• Adjustable up-sampling 1x-16x
• MIDI controllers with MIDI learn
• Very fast, optimized for SSE/SSE2/SSE3 processors
• Global preset management and online preset exchange
• Supports VST, VST3, AU, and AAX interfaces on Windows & Mac, both 32-bit and 64-bit
• No dongle nor internet access is required for activation
• Free-for-life updates

►System Requirements:

Windows

• Windows Vista / 7 / 8 / 10 (32-bit or 64-bit)
• VST / VST3 / AAX compatible host (32-bit or 64-bit)
• Intel/AMD processor with SSE2 support

Always use 32-bit plugins in 32-bit hosts or 64-bit plugins in 64-bit hosts!

64-bit plugins can’t work in 32-bit hosts even if the operating system is 64-bit. Do NOT use 32-bit plugins in 64-bit hosts. They would have to be bridged and can become slow and unstable.

Mac OS X

• Mac OS X (10.7 and newer, 32-bit or 64-bit)
• VST / VST3 / AU / AAX compatible host (32-bit or 64-bit)
• Intel/AMD processor with SSE2 support

2.) T-Bone by Boz Digital Labs

T-Bone is a slant EQ by Boz, and if you know what slant EQ is, then you should know that they are built to automatically boosts one end of the frequency spectrum while attenuating the other end. https://ameblo.jp/vasanira1987/entry-12632994887.html.

Using this Eqing technique is useful for brightening or darkening your tracks very quickly, also, it is an awesome tool for changing the tone of your track without changing the overall level, which isn’t the case in traditional EQ plugins where when boosting a certain frequency, the overall sound gets louder, so, by using this plugin, you can ensure you are using the right tool for the right job.

Another stuff I find really interesting is the fact that it comes bundled with a coupled of good features, e.g, you have a high pass filter with resonance control, low pass filter with resonance.

Additionally, it features a Boom and Harsh Control which lets you control the level of harshness when boosting the levels in a certain frequency.

►System Requirements:

Available Formats

• Windows (32/64): VST2, VST3, RTAS, AAX Native
• Mac (32/64): AU, VST2, VST3, RTAS, AAX Native

3.) KickBox by SoundSpot

If you are into modern music genres e.g Progressive House, Electro, etc, then you know the importance of kick drum, in fact, they are the backbone of many modern music and they can either kill or make your music sound great.

A well-mixed kick drum has a warm sounding low end, doesn’t conflict with the rest of the mix, which is what Kickbox by soundspot is made for, they focus on simplifying the mixing process for any modern kick drum.

The KickBox is modeled after analogue filters and separates the relevant frequency ranges in a very transparent way. KickBox can help you get your kicks sounding extremely tight in a matter of just a few clicks.

The good thing about this plugin is that it works smoothly on both mono and stereo tracks, and the EQ section of the KickBox has been stepped to target the most common areas of the frequency spectrum, allowing you to achieve precise balanced adjustments in a matter of a few clicks.

Each band has a frequency and db control and can be operated with a simple click. This allows you to run through the values without looking at the plugin, so you can trust your ears and not your eyes.

It also features a built-in compressor that has been designed with a completely unique algorithm that has been designed to get your kick drums sounding punchy and clear.

And the most important part of the plugin to me is the presets, you can use the presets as the foundation of whatever you want to achieve, and you tweak it to your tastes, enjoy.

►Key Features:

• Fast and intuitive workflow.
• Analog modeled filters.
• Suited for electronic and acoustic kick drums.
• Extremely light on CPU and RAM.

►System Requirements:

• macOS (Catalina not supported) and Windows
• VST
• VST3
• AU
• AAX (Pro Tools 11.0.2 or higher)
• RAM: 8 GB RAM or more is recommended. Plus at least 8 GB hard disk space for installation.
• Processor: Intel Core 2 Duo, AMD Athlon 64 X2 or newer.
• Licensing: Internet access for activating the licence key. Please ensure any outgoing connection blockers are deactivated.
• Sample Rates: Supported sample rates: 44.1, 48, 88.2, 96, 176.4, and 192 kHz, in both mono and stereo.

4.) FabFilter Pro-Q 3 EQ

Fabfilter isn’t new to the game, and their product are one of the best in the music production industry.

Pro-Q 3 offers everything that a demanding engineer could wish for: top quality linear phase operation in addition to the zero latency and unique Natural Phase modes, Mid/Side processing, variable stereo placement of EQ bands, an intelligent solo feature, optional Auto Gain, and a built-in, fully customizable spectrum analyzer

I really dig the design of the Pro-Q 3, it helps you achieve your sound in the quickest way possible. Via the large interactive EQ display, you can create bands where you need them, enable dynamic EQ for any band, and select and edit multiple bands at once.

►Key features:

• Highest possible sound quality
• Up to 24 EQ bands
• Optional Dynamic EQ mode for all bands (Bell and Shelf shapes), using any slope setting and with perfect analog matching
• Operates in zero latency mode, linear phase mode with adjustable latency, or the unique Natural Phase mode
• Flat Tilt filter shape, a flat tilting correction curve over the whole audible frequency spectrum
• Spectrum Grab: just grab and adjust a peak in the real-time spectrum analyzer right away!
• Different interface sizes and additional Full-Screen mode
• Filter shapes: Bell, Notch, High/Low Shelf, High/Low Cut, Band Pass, Tilt Shelf, Flat Tilt
• Universal filter slope support for all filter types, up to 96 dB/oct
• EQ Match feature to automatically match the spectrum of another Pro-Q 3 instance or an external signal
• Built-in spectrum analyzer with Pre-EQ, Post-EQ and external spectrum visualization, adjustable range, speed, resolution, tilt, freeze, and collision detection
• Auto Gain and Gain Scale
• Optional piano roll display to quantize EQ frequencies to musical notes
• Different display ranges: 3 dB and 6 dB ranges for mastering, 12 dB and 30 dB for mixing
• Intelligent solo mode makes it easy to find problem frequencies and hear the effect of a band
• Phase Invert option to change polarity
• Large output level meter with peak level readout
• Extreme CPU optimization: Pro-Q 3 uses very little CPU and memory, so you can use hundreds of instances in a session
• GPU-powered graphics acceleration
• Double-click text entry of parameter values
• Supports common Pro Tools hardware control surfaces
• Smart Parameter Interpolation
• Sample-accurate automation of all parameters
• Extensive help file with interactive help hints
• Available in VST, VST3, Audio Units, AAX Native, and AudioSuite formats (all both 64-bit and 32-bit)

►System Requirement:

Windows

• 64-bit: Windows 10, 8, 7 or Vista
• 32-bit: Windows 10, 8, 7, Vista or XP
• VST 2/3 host or Pro Tools

macOS:

• OS X 10.8 or higher (64-bit only)
• AU or VST 2/3 host or Pro Tools
• Intel processor

5.) TDR Nova GE by Tokyo Dawn Labs

This is similar to Tokyo Dawn Labs SlickEQ, but NOVA GE is more powerful, it is not only a parallel dynamic equalizer but a includes a flexible dynamics processing options allowing the coverage of an impressively wide range of applications.

Be it a master lacking density, muddy mixes, the drum bus asking for more crispiness, snare looking for smark, or a sibilance problem in your perfect take: NOVA is your ultimate goto plugin.

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It includes a total of six dynamic EQ bands, each with independent dynamics processing ranging from downward compression over upward compression, upward expansion, up to downward expansion (including gating).

In addition, NOVA GE features an advanced “Smart Operation” panel, which offers a unique way of automating and orchestrating the plugin for spectral matching, resonance removal, and much more.

►System Requirements:

Windows

• Win XP SP2 or above
• VST 32-bit / 64-bit
• AAX 64-bit

Mac

• Mac OS X 10.6.8 or above
• VST, AU, AAX 32-bit / 64-bit

6.) Equalize 2 by Acon Digital

Acon Digital Equalize is yet another parametric equalizer plug-in that isn’t only easy to use but also offers great flexibility in your mixing workflow.

What this equalizer does better is featuring an adjustable frequency, gain, and bandwidths, on top of this, you can also filter slope for each band. The filter slope can be set anywhere from 3 dB to ultra-sharp 120 dB per octave.

One of the things I love about this plugin is the way you can operate it. It features as a zero-latency plug-in when using the minimum phase mode or you can choose to preserve the phase relationships in the linear phase mode.

If you’ve ever used Fabfilter Equalizer, then I’ll say the user interface is somewhat similar to Acon Digital Equalizer, the band parameters can be adjusted using handles directly in the graphical representation of the frequency response, including bandwidths and filter slopes.

A flexible real-time analyzer lets you monitor every aspect of the processing. You can easily switch between full, mid, side, left or right channel processing for each band, and Equalize automatically routes the audio signal internally to ensure the best results and lowest possible latency.

►Key Features:

• Available as VST, VST3, or AAX plug-ins on PC (Windows)
• Available as VST, VST3, AAX, or AU plug-ins on Apple Macintosh (OS X)
• Native 32 bit or 64-bit versions of all plug-ins are available
• Supports sampling rates up to 96 kHz
• Supports multi-channel formats such as 5.1 and 7.1 surround
• Up to twelve equalizer bands
• Eight different band filter types (low cut, low shelf, peak, tilt, bandpass, notch, high shelf, and high cut)
• Band frequency, gain, bandwidth, resonance, and filter slope is freely adjustable for each band
• Three different filter modes, minimum phase, linear phase, or the novel mixed phase
• Adjustable latency and pre-ringing time in mixed-phase mode
• Zero-latency in minimum phase mode
• Channel mode (mid, side, left, right, or full processing) can be set independently for each band
• Multiple selections of bands
• Resizable graphical user interface
• Solo and bypass modes
• Optional automatic make-up gain
• Optional gain to bandwidth linking
• Two spectrum analyzers that can analyze the input or output signal from the mid, side, left, or right channel
• Graphical visualization of the equalizer frequency response
• Preset manager and a large number of factory presets
• Save, load, and categorize user presets

►System Requirements

PC Version (Windows)

• A Pentium IV or higher
• Minimum 256 MB RAM (1 GB recommended)
• Windows 10, 8 or 7
• A host application that is compatible with VST, VST3, or AAX (Pro Tools 10.3.5 or higher)

Macintosh Version (OS X)

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• 64 bit Intel CPU
• OS X 10.7 or later
• A host application that is compatible with AU, VST, VST3, or AAX (Pro Tools 10.3.5 or higher

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