FabFilter Pro-Q 4: The Best Gets Better

Written by Bytemapper

It always seems to feel that the plugin market effectively functions on the notion of FOMO. You’re not getting the pro mixes without the 900th emulation of an 1176. Gear acquisition syndrome is a very real and serious matter. As such, I respect developers that are honest about what they present. FabFilter isn’t prone to sales tactics, aside from the odd minimal discount. Things are what they are. 

Pro-Q has been an industry standard equalizer for years at this point. When I did my mixing training, it was the top priority on my purchase list. In the years since Pro-Q 2 and 3, there’s been quite a bit of speculation about what version 4 of their venerable equalizer would need to compete with the rest of the offerings on the market. I’m going to be flat out and skip burying the lede, this is a must-have, if you can afford to do so. 

What’s New?

Pro-Q 4 retains the same ease of use and friendly workflow of previous versions, but it’s packing even more horsepower underneath the hood. Of note is the introduction of the character modes, gentle modeled saturation circuits that allow users to impart a little tonal change beyond simple boosts and cuts. I’ve always opted for Saturn 2 for adding character, or just running to outboard, but this is a welcome addition. 

Seeing instances of Pro-Q isn’t necessarily a new feature, but the actual view has been streamlined, allowing users to rapidly make changes in relation to material across the entire mix if desired. As I’m using this on a massive mix at the moment, it’s like having a modern mixing desk a mouse click away. 

You can also just sketch in your curve, making for quick and efficient changes. I don’t use this as often, but it comes in handy when trying to sculpt sweet spots on drums, bass, and other material. 

The big addition is the new spectral processor. Much like a renowned spectral resonance suppressor, you’ve got the ability to cut just minimize those resonances instantly. Having this on a per-band or per-filter basis is one of the most exciting new features and one I’ve exercised rigorously since testing Pro-Q 4. 

A Primer 

If you haven’t used Pro-Q, I honestly salute you for avoiding it for so long. That said, part of its fame just comes down to its ease of use. FabFilter has a very distinctive brand identity which extends across its entire plugin suite, from reverbs to synths. Pro-Q is perhaps the de facto example of that ethos and identity in action. 

Everything is easily accessible, with quick tooltips to let you know exactly what you’re looking at. Conversely, things are also quite complex, with a little rooting around. I seldom use all 24 bands on Pro-Q, but you certainly can for more precise work. 

The EQ match feature is a life saver, especially if you’re trying to carve out space for clashing instruments or simply layering sounds and trying to make sure the same sweet spots are highlighted. 

Mid/side operation is just a default method of operation for most FabFilter plugins, and one I more than welcome. Mid/side processing has been a secret weapon of sorts for me, provided I’m not shouting at you to do it in the first place. 

How Does It Sound?

If I ever had to characterize the sound of FabFilter plugins, it comes down to precision. If you’ve spent time behind a modern SSL desk or an Allen & Heath console, you know exactly what I’m talking about. This isn’t just raw digital processing, but rather finely tuned precision meant to impart subtlety rather than exude character. 

Pro-Q 4 retains the character of the sounds I feed it, which usually have some external processing going on in the first place. When I receive stems from clients, I don’t ask what they’re tossing on it. In a wash of OTT, Decapitator, and Thermal, Pro-Q retains the tone and character of these respective processors. 

The dynamics processors are a real star here, whether you’re utilizing the newly introduced spectral bands or the dynamic bands. They’re clean and flexible, and I’ve found myself reaching less for compressors and more just focusing on problem frequencies where there are build ups of energy. 

Is It Worth It?

In short, yeah, it’s absolutely worth it. Pro-Q 4 is an industry standard for a reason. Now, I’m not saying every producer needs to run out and spend on it. If you’re looking to buy one premium equalizer, however, I would opt for this every single time. FabFilter has built a reputation more on par with the likes of Solid State Logic or Neve. 

This is a tool for people that take their music seriously, and it is completely frank in its presentation. You aren’t getting another emulation of the API 550 or the SSL 4K equalizers, but rather something meant to do work and do it fast. 

So yeah, it’s certainly worth the cost of entry. I’m not here to engage in clickbait practices and game the system. The hype behind this is merited, and it is worth every penny. Pro-Q 4’s MSRP is $179, and you can test it for free with a 30-day trial. If you’re like me, after testing you’ll be wondering why you waited so long to do so.