Your hands are surely already itching to try all these out, but not before we tell you about the parametric VEQ-55A. Having issues getting your bass guitar sound edgy enough? Need some meat in your drums or maybe some body in the guitars? Problem solved, VEQ-55A will emphasize all tiny details your mix has been missing. All that, which has been causing troubles will be gently cut.

VEQ-55b Equalizer

Based on its beloved hardware brethren, this EQ unit became popularized in the 60s and 70s. It features four disparate bands with up to 12 dB of cut or boost. High and low bands offer the option to switch between a bell curve or shelving behavior. The unit’s musicality owes in part to the proportional Q behavior of each band, ranging between a gently sloping Q at more subtle levels of boosting or cutting and a more aggressive slope at higher levels. Additionally, adjacent EQ bands offer some overlapping frequency selections for creating complex curves and dialing in the perfect sound.
As with all of Antelope Audio’s FPGA models, the tonal characteristics of the vintage circuitry are carefully modeled to imbue its rich analog character on your audio.


This channel strip is coming straight from one of the top sounding analog mixing desks. What makes it special? VEQ-STU 900 is very flexible 4-band semi-parametric EQ with cut/boost controls and variable frequency. Its HF and LF bands support bell and shelf modes and its LMF and HMF bands two options for the Q.
Originating from the best mixing desk in a line of analog classics, the VEQ-STU 900 allows you to shape the sound in pretty extreme ways without deforming the sound. With thick lows and gentle mids you might dig it more even than a Pultec or an SSL.


VEQ-HA32C was inspired by one of the richest and characteristic sounding four-band channel EQ modules. Incredibly versatile it can treat everything from vocals to bass and electric guitars to drums. VEQ HA32C is smoothly treating your high-end while keeping the mids vivid and the lows thick and concrete.
VEQ-HA32C features four parametric bands. Each of them comes with a Gain and sweepable Frequency control knobs. The Low and High bands can be switched to shelving modes and the EQ features a High and Low Pass filters that can be switched on or off.


Born in the 70s this channel module has been surely used on all your favorite records. BAE-1073 can handle it all – from classical music to TV pop, badass hip-hop and rock. Inspired by the hardware original we made sure this tiny beast can give your sound that very specific analog punch, which top producers have been cashing in on for decades now.


Ever felt like the BAE-1073 was sounding ace but didn’t offer you enough control? Well, BAE-1023 is here to save the day. It offers five more frequencies in the mids and four in the high range. This however is not the sole change in this. The EQ offers even more tone shaping options by for example allowing you to use the mid-bell curve directly against the shelves in the lows or the highs where they overlap. This mighty trick results in a very organic and natural all analog sound. High frequencies can be boost/cut on shelving mode, for the mids you get peaking mode.
Below’s a list with the expanded frequency controls of the 1023. The high pass filter works on 18dB per octave slope and is switchable between 45Hz, 70Hz, 160Hz and 360Hz.
Lows: +/-16dB at 35Hz, 60Hz, 110Hz & 220Hz.
Mids: +/-12dB or +/-18dB at 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6k, 3.2k, 4.8k, 7.2k, 8.2k and 10kHz.
Highs: +/-16dB at 10kHz, 12kHz, 16kHz, 20kHz and 24kHz.


BAE-1084 is a synonym for fat large sound with massive lows and smooth high end. Due to its original pristine analog design, which we’ve recreated here it offers extended control over the sound spectre. Tone shaping is here brought to a whole new level and what you’ve so far considered as tiny tweeks will now result in unprecedented all analog sonic detail. Even if you try boosting at 220Hz won’t result in any mud in your sound. An authentic FPGA model of vintage console channel strip, BAE-1084 is one of the most precise and versatile EQs you can ever get your hands onto. It also offers a Hi-Q button allowing a narrowing mid band.
It features a four frequencies high pass filter – 45Hz, 70Hz, 160Hz, 360Hz and a five frequencies low-pass filter – 6kHz, 8kHz, 10kHz, 14kHz and 18kHz. The mid band features six frequencies – 350Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz and 7.2kHz. The high band works in shelving mode and three frequencies 10kHz, 12kHz and 16kHz.


The NEU-W492 is based on the inimitable circuitry design of the original, carrying its signature German sound. As a favorite mastering tool of generations of record producers and sound engineers, the unit features a 4-band EQ with bypass available for each band or the entire unit. Versatile and simple to use, the NEU-W492 is particularly powerful in the midrange, delivering a warm analog sound character.


The NEU-W495 meantime, is based on the original mixer strip designed for mastering consoles. From a sonic perspective, the NEU-W495 is able to fatten bass much like an analog EQ, and in ways that are not possible with typical software plug-ins. The NEU-W495 is also highly effective in smoothing out mid and high frequencies. Everybody needs more of that German analog precision in their sound.


The NEU-PEV EQ is modeled on a rare German passive equalizer designed in the 60s. Its simple interface belies the complex tonal possibilities achievable with its four main knobs. A low shelving filter is fixed at 60Hz and can apply a boost or cut. The “Presence” section offers up to 8 dB of boost for one of 7 selectable frequencies between 700 Hz and 5.6 kHz, while a 10kHz high shelf allows boost or cut at the top end of the frequency spectrum. An on-off switch and output gain control provide users with even more utility. Notable for its warmth and spacious midrange, the NEU-PEV makes some of the most compelling sounds of both yesterday and today achievable without a massive rack of aging vintage gear.


Having imparted its sound signature on generations of artists and hit recordings for more than 50 years, the VEQ-4K SERIES are based on a rock-solid analog design — now coming to life in Antelope’s FPGA FX modules. Antelope’s VEQ-4K is complete with four different colored hardware-original revisions, each delivering its own unique sound shaping characteristics.

VEQ-4K Black: Likely the most popular version of the EQ module, this unit was designed following the recommendations of many of the world’s top engineers. The ‘original black’ features a louder EQ with +-18dB cut/boost and a steeper High Pass cut off slope (18db).

VEQ-4k Brown: The first model in this legendary line of EQ modules, it remains a classic and still in use by many engineers. It has 4 bands with a sweepable mid Q. The HF and LF can be switched to Bell/Shelf modes altering with the degree of boost/cut by +/- 15db.

VEQ-4K Pink: Originally appearing in the late 80s and with proportional gain settings, the VEQ-4K features shelving HF & LF EQs with a signature combo of dip and bump right before the shelf boost and cut. The Pink module has a wider frequency range with the boost/cut and gain range above +/- 20dB.

VEQ-4K Orange: A variation on the VEQ-4k Brown, which’s still a huge thing in Japan. Very close as sound to a Pultec EQ and with controls simulating valve EQ curves. This one is not just one more module strip revision, but a hardware rarity with a sound of its own.

VEQ-HLF hardware-based EQ effect


Pultec’s simple and effective filter features two knobs: one each for passive low-cut and high-cut filters at carefully selected frequency intervals. With 10 frequency selections available per band, it is the perfect tool for creating space in your mix by eliminating unneeded frequencies at the extremes of the audio spectrum — while ensuring a musical analog tone.


But what’s proper low and high end with no guts in the mids? VMEQ-5 is this range’s best friend. Two peak bands and a dip one are all you need to give your vocals, synth, guitar leads or snare drum the analog punch they’ve always needed. This little beast can also clean up a murky midrange like a boss.


You’re surely into studio legends if you’re reading this so let’s take you back 60 years ago when a tube legend was born to become a part of every pro studio in the world. VEQ-1A is not only breathing a new life into a classic, but sounds as thick as the real piece and it does hide quite a few tricks. For example simultaneous cut and boost of the same frequency, which gives the sound a unique quality you can’t really get with another EQ. Massive bass, gentle highs and richness – these knobs surely do some analog magic.

Lang PEQ-2 hardware-based EQ effect


The PEQ2 is modeled after a vintage solid-state parametric EQ. Yes, it’s actually a pumped-up 1960s Pultec. Featuring controls similar to the VEQ-1A tube EQ (already available in Vintage Pack 2.0), the PEQ2 really stands apart from the pack thanks to its frequency control, allowing users to set different and separate LF boost and LF cut frequencies. The PEQ2 provides plenty of width in the midrange while retaining tightness on the high end and low end and its high end bands excel at giving tracks that extra shine, making it an all-star on vocals and drum overheads.


Modeled on a classic British console EQ used in recordings by well-known artists of the 60s and 70s ranging from The Beatles to Led Zeppelin, the UK-69 adds astonishing analog detail to your audio it allows Antelope Audio users to achieve depth and texture formerly the sole territory of standalone hardware. The bass band is a stepped 50 Hz shelf filter or frequency selectable peak EQ, the treble band is a fixed 10 kHz shelf EQ, and the mid section sports a frequency-selectable peak or notch EQ with 8 frequencies available. The control panel is rounded out with a level knob, EQ bypass, and phase reverse button. This EQ is notable for its ability to preserve transparency while adding space and presence, and Antelope Audio’s model of this highly coveted circuit delivers unprecedented authenticity.


This EQ channel strip is a simple but a powerful tool from a world-renowned mixing console dating back from the 70s and still highly sought after for its deep analog sound. The VEQ-STU 089 is basically a Pultec style semi-parametric EQ. With 2 variable filters and a presence knob with its own frequency dial. These one offers you a quite the choice no matter if you’re going for a quick and rawer equalizing or into broader tone shaping.
VEQ-STU 089 and its minimalist but effective set of controls that will give your sound authentic and warm analog treatment. This one is especially powerful when processing drum sound.


The VEQ-STU 169 is a part of the second generation analog Western European mixing desks. Produced in the late 70s and early 80s these were top devices to record music with for their transparent and still gently colored analog sound. This simple yet powerful 3 band inductor-based EQ is carrying a signature musicality coming from its high-end smoothness and headroom, plus clean and concrete lows. Designed for broad tone shaping, the 169 has a low Q factor preserving the low end clean.
To this day VEQ-STU 169 is still used in studios ranging from vintage analog to hi-end digital studios which still take advantage of its unique and gentle coloring. With a low-pass filter and a sweepable bell mode mid band you can surely achieve the sound many other EQs can only dream of. The low frequency band is set to shelve at 60 Hz, the mids are sweepable between 150 Hz and 7 khz and the high frequency shelving comes at 10 kHz.

Parametric EQ

Antelope Audio’s integrated EQ offers 5 fully parametric bands, two of those can work in filter or shelving mode the three in the middle can cut or boost selected frequency ranges.
Our users have been using this simply designed yet perfectly sounding plug-in for both tracking in mixing, because it simply provides all that you might need in an EQ.

Tape Machine Emulation

Preamp emulations