The parametric EQ, dialed. Pro-grade parametric EQ with real-time spectrum, dynamic bands, linear-phase mode, and nine filter types.
Pro-grade parametric EQ with a real-time spectrum, dynamic bands, linear-phase mode, and nine filter types — running fully in your browser. Click anywhere on the curve to add a band. That’s the whole onboarding.
1. What it is
A parametric EQ that lets you carve any frequency, anywhere, at any width — with live visual feedback from a pre-and-post spectrum analyzer. Up to 24 bands. Filter type per band. Slope per band. Optional dynamic mode per band. Optional linear-phase processing across the whole instance.
The interface is one big EQ curve over a moving spectrum. Everything else is contextual — click a band to reveal its parameters, click empty space to add a new one. No menus to dig through.
2. How to add a band
- Click anywhere on the EQ curve display. A new band drops at that exact frequency and gain.
- Drag the band node to move it — horizontal sets frequency, vertical sets gain.
- Scroll over the band (mouse wheel or trackpad) to change Q (width). Wider Q affects more frequencies; tighter Q affects a narrow window.
- Right-click the band to switch filter type (peak, shelf, cut, notch, band-pass, tilt).
- Double-click the band to delete it.
You can stack up to 24 bands per instance. Each one is independent.
3. Band parameters
| Parameter | What it does |
|---|---|
| Frequency | Where the band lives. 20 Hz to 20 kHz, the full audible range. |
| Gain | How much you boost or cut. ±30 dB max, but ±6 dB is the sweet spot for most musical work. |
| Q | Width of the band. Low Q (0.1–0.7) = wide, musical. High Q (4–40) = narrow, surgical. |
| Filter type | The shape of the band — peak, shelf, cut, notch, band-pass, tilt. Nine total options. See the filter guide below. |
| Slope | How steep cuts and shelves are. 6, 12, 18, 24, 36, 48, 96 dB/octave. Higher = more aggressive. |
| Dynamic mode | Optional. The band only acts when the input crosses a threshold. See dynamic EQ below. |
4. Filter type guide
Peak (bell)
The default. A symmetrical boost or cut centered on a frequency. Use for almost everything — carving mud out of guitars, brightening vocals, cutting harsh resonances.
Low-shelf
Boost or cut everything below a frequency by a flat amount. Use to add weight to a kick, lift the warmth on a vocal bus, or trim sub on a busy mix.
High-shelf
Boost or cut everything above a frequency by a flat amount. Use to add air to vocals, brighten a master, or tame harsh top end on a synth.
Low-cut (high-pass)
Removes everything below a frequency. Use on every non-bass track in your mix — voice, guitar, synth pads, percussion. Cleans up rumble and frees the low end for the kick and bass.
High-cut (low-pass)
Removes everything above a frequency. Use to tame fizzy distortion, soften a too-bright synth, or create a low-fi telephone effect at narrow Q.
Notch
A super-narrow cut. Use to surgically remove a single resonant frequency — mic ringing, hum, a singing bowl tone in a guitar amp, the 60 Hz hum of an electric grid.
Band-pass
Removes everything except a narrow band around the frequency. Use for telephone, walkie-talkie, and intercom effects. Also useful for solo-ing a frequency to find resonances.
Tilt
Lifts one side of the spectrum and lowers the other simultaneously, pivoting around the frequency you set. Adds “darker” or “brighter” tonal character with one knob — great on busses and masters.
Flat-tilt
A linear tilt with no center peak — gentler than the standard tilt, useful for subtle tonal shaping on the master bus.
5. Linear-phase mode
Standard EQ filters introduce small phase shifts at and around the cut frequency. For most work this is inaudible. For mastering and parallel-bus work, those phase shifts can cause comb filtering when the EQ’d signal sums with a parallel copy.
Linear-phase mode uses FFT-based processing to apply the EQ curve with zero phase shift. The cost is processing latency — about 30–60 ms depending on settings. Soundbend’s mixer auto-compensates so everything stays in sync, but you’ll feel the latency in live monitoring.
| Use linear-phase for | Use minimum-phase for |
|---|---|
| Mastering chains | Tracking and live monitoring |
| Parallel busses (parallel compression, parallel saturation) | Insert EQ on a single track |
| Mid/side EQ | Sound design where you want the analog character of phase shift |
| Surgical work near other parallel processing | CPU-constrained sessions |
6. Dynamic EQ
A dynamic band only fires when the input crosses a threshold — like a single-band compressor that targets one frequency.
Click Dynamic on a selected band and three new controls appear:
- Threshold — the level the input must cross before the band acts.
- Attack/Release — how fast the band engages and disengages.
- Range — how much gain change is allowed when triggered.
The classic uses:
- De-essing — dynamic cut at 6–9 kHz that only fires on harsh sibilance.
- Resonance taming — dynamic cut at the resonant frequency of a guitar or vocal that only fires on loud notes.
- Mud control — dynamic cut around 200–400 Hz that only fires when the bass and kick stack.
- Brightness boost — dynamic high-shelf boost that only fires on quiet sections to keep them from sounding dull.
7. Spectrum colors
| Color | Meaning |
|---|---|
| Grey | Pre-EQ spectrum — the raw input signal. |
| Orange | Post-EQ spectrum — the processed output, after your bands apply. |
The two spectrums overlap so you can see exactly what your EQ did. If they’re identical, your bands aren’t doing anything. If they diverge wildly, you may be doing too much.
Toggle either spectrum on or off from the analyzer settings if the visualization gets noisy.
8. The six presets
Vocal Polish
Low-cut at 80 Hz, gentle dip at 250 Hz (mud), small boost at 3 kHz (presence), shelf boost at 10 kHz (air). The default starting point for any vocal track.
Master Tilt
One tilt band centered at 1 kHz, slight bright bias. Linear-phase enabled. The lightest possible touch on a finished mix — tonal shaping without surgery.
Guitar Carve
Low-cut at 100 Hz, mid-cut at 400 Hz (boxiness), boost at 2.5 kHz (bite), high-cut at 12 kHz (ice pick). Sits a guitar in a busy mix instantly.
Sub Tame
Low-shelf cut below 30 Hz to remove inaudible rumble that eats headroom, plus a dynamic band at 60 Hz that controls peaks. Use on bass tracks and full mixes.
Drum Bus Glue
Low-shelf lift at 60 Hz, dip at 350 Hz, presence boost at 5 kHz. Tightens kick, opens snare, brings hats forward.
De-Esser
One dynamic band at 7 kHz with a -8 dB range and fast attack. Targets sibilance only when it spikes — doesn’t dull the rest of the vocal.
9. Keyboard shortcuts
| Action | Shortcut |
|---|---|
| Add band | Click on the curve |
| Move band | Drag |
| Change Q | Scroll over band |
| Solo band | Shift+click |
| Delete band | Double-click |
| Bypass band | Alt+click |
| Reset band gain | Double-click the gain readout |
| Cycle filter type | Right-click band |
| Bypass entire EQ | B |
On Windows and Linux, all shortcuts work identically — no ⌘ substitution needed.
10. Why it costs nothing on your device
The mastering-grade EQ plugins are the gold standard. If you’re mixing for film or mastering at a commercial studio, buy one.
It’s trying to cover the 80% use case — click to add a band, drag to set, dynamic mode for de-essing, linear-phase for mastering — for 99% less money. And it runs in a browser tab, so it’s available on every machine you sit down at, without an installer or a license file.
The, plus Artboard, Flowcut, Framecast, and 300+ Morph tools. If Morph PEQ is the only thing you ever use, you’re paying about a penny a day for browser-native parametric EQ. If you use the rest of the stack too, the math gets silly fast.
Morph PEQ is the right answer for a Chromebook in a coffee shop. Both can be true.
Next steps
- Morph OTT — the multiband compressor that pairs with PEQ on the mastering bus.
- Troubleshooting — fix browser audio, latency, and CPU issues.
- Help Center — full documentation index.