Denzel EQ

Off, HPF, Low Shelf, Peaking, High Shelf, LPF, Notch, Phase. Selecting Phase hides Gain and the whole dynamics section.

20 Hz–20 kHz, ±24 dB, Q 0.1–18. Drag the band node on the interactive curve, or use the controls.

On, Threshold, Range (±24 dB — negative = downward/compressive, positive = upward/expansive), Attack, Release, and a separate dynamics Q. Upward is the rare part: presence lifts and “air while soft”.

Per-band distortion: Off / Saturate / Drive / Bitcrush / Wavefolder + Amount. A bandpass isolates the region, the shaper distorts only that region, and just the harmonic residue is summed back — so 0% is perfectly clean and colour stays local. Bitcrush/Wavefolder alias somewhat at high amounts.

The standout feature. A 2nd-order all-pass with unity magnitude at every frequency — it changes nothing about tone or level (guaranteed at the coefficient level) — while rotating phase up to 360° around freq, Q setting how tightly the rotation clusters. Phase, not EQ, is what fixes comb filtering and timing smear between mics (snare top vs bottom, DI vs amp, multi-mic kits): you can phase-align two sources without a sample delay and without flipping polarity, and stack several bands into a composite correction curve — dialled by eye against the phase graph. Very few EQs can do this.

Global low-cut, output make-up (used by the brain to restore level after cuts), body-level target meter, polarity, bypass.

The curve has two views. MAG is the familiar magnitude response (dB vs frequency). PHASE swaps in a −180°..+180° grid on the same log-freq axis and draws the summed phase response of the whole chain (low-cut included) — so you can *see* the phase rotation your all-pass bands are applying and align it against the graph. It’s drawn from the exact same coefficients as the audio, so what you see is provably what you hear (it can never drift from the sound). All-pass bands are invisible in MAG (flat by construction) and only reveal themselves here.

Each track type has a *set* of candidate EQ presets; Denzel reads the track’s accumulated spectrum (measured by Analyser upstream) and applies the one whose corrective moves best fit the actual imbalance. A de-esser is chosen only when genuinely sibilant; a mud cut only when muddy.

When Analyser flags this track masking another, Denzel shows a card in Brain — Clash Suggestions with partner name, range, severity, a one-click Add Cut, and a Solo button (session-wide audition). Once a Denzel cut lands, the card shows SEVERITY 62% → 18% post-EQ.

The key that ties this instance to its Analyser channel. Auto-filled from the host; editable when the host sends no name or it doesn’t match. The empty-clash state names which of the three failure modes applies.

Applies the spectrally-chosen preset on track-type change and on the ANALYSE broadcast. Never touches Phase-typed bands. First user edit of a non-Phase band turns it off.

Reads the brain’s current phase-cancellation suggestions for this track and installs a Phase band per suggestion (geometric centre as freq, Q from range width). Reuses existing Phase slots first, then Off slots; never touches EQ / hand-placed bands. Repeat clicks mirror the current recommendation cleanly.