EQ Pro

1.2.3 2026-07-28

• The macOS installer could refuse to run on some Macs, saying the package was not compatible with that version of macOS or that it was trying to write to the system volume, even on a supported system. It now simply states that it installs into the system-wide plug-in folders, instead of inspecting the startup volume first, which is what misfired.

• A macOS zip containing the VST3 and the Audio Unit, next to the installer, for anyone who would rather place the plug-in themselves or whose installer will not run. Windows has had this all along.

1.2.2 2026-07-27

• The band panel readout values (frequency, gain, Q) can be dragged up and down to nudge them again, the way they could before 1.2, on top of double-clicking a value to type it.

• Download files now carry the version in their name (for example Jeesonic-EQ-Pro-1.2.2.pkg), so two versions never sit on your disk under one filename.

1.2.1 2026-07-26

• Removing a band now clears its curve from the graph immediately. In some cases a removed band could stay drawn on the curve until you touched another control.

1.2.0 2026-07-24

• Spectrum landmarks: a top-right toggle marks the frequencies where something keeps going on over time, the steady peaks that stand out of their surroundings. They are a place to look, not a verdict: hover one for its frequency and nearest note, press and hold (or drag to sweep) to hear it on its own, then decide with the EQ. Nothing is judged or changed.
• A preset browser in the header: factory starting-point templates (Default, 2-Band, 3-Band and 4-Band EQ, High Pass, Low Pass, Band Pass, Tilt, Dynamic EQ, De-Esser, Notch), your own user presets (save, delete, reveal folder), and arrows to step through them.
• A/B comparison in the header: hold two versions of your settings and flip between them, with an arrow to copy one to the other. Both are saved with the project.
• An analyzer display slope in the gear menu: tilt the spectrum 3, 4.5 or 6 dB/oct (pivot 1 kHz) for easier reading. Display only.
• Analyzer decay in the gear menu: set how fast the spectrum falls back after a peak, from Fast to Very slow (Medium the default).
• Hover help on every knob, button and value, including the inline band panel. Toggle it with "Tooltips" in the gear menu.
• Make Default in the gear menu: save the current setup as the state new instances open with (Update Default / Factory Default to manage it). Reopened projects keep their own state.
• A piano keyboard along the frequency axis, so any spot on the curve reads as a note. Can be turned off in the gear menu.
• A Channel submenu in a band's right-click menu: place it on Stereo, Mid, Side, Left or Right straight from the curve.
• New Natural Phase mode (in the MODE switch): the Standard magnitude with the analog filter's phase response, restored by a short correction filter, so the top octave behaves like an analog EQ in phase as well as in level. Adds about a millisecond of latency; the existing modes sound unchanged. The MODE switch now cycles Standard > Natural > Linear > Digital (green, blue and yellow LED).

• The filter modes are renamed and default to the analog-accurate one. "Zero Latency" is now "Digital" (the plain filter design that, like a classic digital EQ, narrows high bells and shelves near the top of the spectrum) and "Natural Phase" is now "Standard" (analog-matched, so the top octave stays true). The old names were misleading, since both are zero latency; they differ in the high end, not the delay. New instances now start on Standard; existing projects keep the exact mode and sound they were saved with.
• The mode selector is now a single status switch under a MODE legend, instead of three switches. Left-click cycles Digital / Standard / Linear, right-click picks one directly, and the switch shows the current mode; its LED is dark on Standard (the default) and lights for the others (Linear green, Digital blue).
• Oversampling moved out of the gear menu to a switch (legend SAMPLING) beside MODE (Off / 2x / 4x, same left-click-cycles / right-click-menu), its LED dark at Off and lit when engaged (green at 2x, blue at 4x), so it is one click away.
• The bottom strip now groups the three global switches in one row on the right: MODE, SAMPLING (oversampling) and AUTO (Auto Gain). Auto Gain moved over from beside Bypass; Bypass stays on the left on the same axis.
• Automatic dynamic bands (Full controls off) now level gently in proportion to their gain range instead of always limiting at the threshold. Choose Musical or Classic under Auto Dynamics; older projects load as Classic and sound exactly as mixed.
• Shelves respond to Q more musically: raising Q grows the corner bump gently instead of jumping to extreme peaks. Q 0.71 and below sound exactly as before.
• Revealing Full controls no longer jumps the Ratio to brickwall: it starts at the value the automatic reduction was using, and is kept once you set it by hand.
• Bypass now keeps the input gain and output trim and removes only the EQ, for a level-matched A/B.
• The VST3 and standalone now scale the interface steplessly from 75 to 200 % (it used fixed steps before), remembered with the project; the Audio Unit keeps fixed scale steps because of Logic's resize issues.
• The bottom control surface is laid out like hardware on one row from Input to Output, with the selected band in its own framed module (Freq / Gain / Q, ON / SOLO, step).
• The header is reorganised around the preset browser: brand on the left, preset display in the centre, settings and help icons top-right.
• The input and output meters now read as one framed instrument per side, with a peak-hold dBFS value under each pair for precise gain-staging.
• The meters are now honest peak meters with a premium behind-glass LED face: a single neutral orange over the whole range (not green, which reads as "all good"), with red reserved for a held OVER lamp at 0 dBFS.
• Every band now draws its own thin coloured response line behind the summed curve, so you can see which band does what without selecting it.
• The inline band panel hangs diagonally from the marker and slides to stay clear of the curve, carrying the band's colour on its frame and leader line.
• The band strip now carries ON and SOLO switches beside the knobs, mirroring the inline panel.
• The frequency grid now draws every multiple within a decade (20, 30 ... 90, 100 ...), so the log spacing reads evenly.
• The curve and analyzer display sits on a deeper black with a faint centre glow, matching the Transient Clipper's scope for a consistent series feel.
• The knobs are redrawn as clean straight-on parts with band-coloured caps; the Gain Scale knob gets a neutral pewter cap.
• The Auto Gain LED turns amber when a band it cannot fully level-match is present (a dynamic Tilt band), so an incomplete match is no longer invisible.
• The band frequency now tops out at 20 kHz (the right edge of the display) instead of 30 kHz; the low end stays at 10 Hz.
• The inline band panel values are edited by keyboard only now (double-click to type); drag-to-nudge was removed since the panel now slides to follow the band.
• The version moved from the bottom strip into the Help menu, and an available update tints the gear green. With the strip gone, the window is a little shorter.
• The canvas right-click menus (change a band's type, and add a band on an empty spot) now show the same band-type shape icons as the panel's type picker, instead of a plain text list.

• A new band is now always created on the Stereo channel. It used to inherit the channel whenever the existing bands happened to share exactly one, so after switching a band to Mid the next band silently became Mid too, then went back to Stereo once a second channel was in use.
• The inline band panel no longer collides with the display's edges: at the bottom it stops above the note tag that floats over the piano keyboard, which it used to land on.
• The spectrum analyzer and resonance detection could read the wrong sample rate after a host changed it while the editor was already open (e.g. foobar2000 reconfiguring its DSP chain mid-session), shifting the analyzer's frequency axis.
• Soloing a band in Linear Phase now stays in time with the session (before, the audition arrived one latency window early).
• Bypass and un-bypass with a latency-adding setup (Linear Phase, for example) no longer pop or leak pre-bypass audio: the latency is kept and only the EQ is removed. The host's own plug-in bypass drives the same click-free, latency-aligned crossfade.
• Mouse-wheel Q / slope, the threshold marker and the panel sliders now record into host automation in touch and latch modes.
• The EXT "no sidechain arriving" warning now holds the same time in every host, instead of flickering at small buffers.
• Closing the plug-in window while a menu was open (a band's right-click menu, the add-band menu, or the gear and help menus) could crash the host. Menus and dialogs now close safely with the window.
• Dynamic bands now work in Linear Phase mode (with a natural lookahead inherent to any linear-phase dynamic EQ).
• The response curve now follows the Freq / Gain / Q knobs and automation at the full display rate, instead of stepping at the slower meter rate.
• Switching a band's slope, type or on/off, soloing, and the global Bypass now crossfade smoothly instead of clicking.
• Double-clicking an empty spot adds a band and puts the cursor on its marker so you can drag it right away; adding a band no longer leaves the canvas in a stuck drag state.
• Dragging a band now starts exactly where you click, instead of nudging it under the cursor.

0.1.1 2026-06-25

• Much lower idle CPU. A single instance no longer keeps the audio thread busy when nothing is playing, whether the editor is open or closed. This was most noticeable on Windows, where one idle instance could sit at several percent CPU.

• The Notch type is now a true band-stop: a narrow, deep null exactly at the set frequency instead of a broad dip. Fresh notches start at a tighter, musical width, and the displayed Q now matches the drawn curve and the audio one to one.
• Smoother, lower-CPU interface rendering. The grid, the response curve and the spectrum are drawn more efficiently, so dragging bands stays fluid and the editor uses less CPU, most noticeably on slower machines.

0.1.0 2026-06-22

• Up to 24 freely placed bands over an interactive curve, with a built-in pre/post spectrum analyzer.
• Dynamic bands: every band can become a full per-band compressor (threshold, ratio, knee, attack, release).
• Bell, shelf, cut and notch types, with selectable 6 to 96 dB/oct slopes.
• Zero-latency, natural and linear-phase modes, plus optional oversampling.
• Mid/Side and Left/Right processing, and an external sidechain.
• Deterministic, level-preserving Auto Gain that keeps loudness steady while the dynamic EQ reshapes the spectrum.
• macOS (VST3, AU) and Windows (VST3). Free, with no account and no email required.