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45 EQ presets for Izotope’s Ozone 6 Equalizer, taken from Ableton Live’s EQ 8 Factory Presets!

Ableton Live‘s Spectrum and EQ Eight are ideal tools for this. In this Ableton Live Tutorial, Liam O’Mullane explains how Spectrum and EQ Eight can help you out with spectral analysis. He also breaks down all the features and functions on the devices – you’ll know these tools inside-out by the end of the video.
This EQ can be used by audio engineers to apply quick EQ shape adjustments, both to audio tracks and full mixes. Free Download: Marvel GEQ by Voxengo (Windows / Mac) SonEQ by Sonimus. SonEQ is a free three band (bass, middle, and treble) equalizer plugin that combines the best elements of selected vintage gear into a single plugin.

I really like the EQ 8 presets that come stock with Ableton Live 9. I like to use them as starting points. However, I really like to use Izotope’s Ozone 6‘s Equalizer plug algorithm.

Drum EQs

Cymbal 1
Cymbal 2
Floor Tom 1
Floor Tom 2
Hat 1
Hat 2
Kick 1
Kick 2
Kick 3
Kick 4
Rack Tom 1
Rack Tom 2
Snare 1
Snare 2
Snare 3

Instrument EQs

Acoustic Guitar 1
Acoustic Guitar 2
Bright Acoustic Guitar
Clear Acoustic Guitar
Electric Bass – Modern
Electric Bass – Vintage
Electric Guitar 1
Electric Guitar 2
Funky Electric Guitar
Piano 1
Piano 2
Strings 1
Strings 2

Filter *specials

Center Kill
Cheesy Speaker
Curved
Dance Master
Gentle Vintage
In the Air
Lo-Hi Shelf
Loop Aid
LowCut
Notch 4
Phat Low
Power Book Boost
Stereo Effect 1
Stereo Effect 2
String and Snap
Ultra High
Xtra Low

Download the files below. Follow the video on where to install these .xlm files so that the show up in the preset library in Ozone 6.

File Pathway for EQ presets in Ozone 6 [windows] –> Documents>Izotope>Ozone 6>EQ Presets

How to “Install” the EQ Presets for Ozone 6!

Live's workhorse studio EQ is more versatile than you might have known. In this tutorial, Live expert Noah Pred delves deep into its workings and features to reveal its true power.

For meticulous mix engineers, few plug-ins are more crucial than EQ. While the market offers a wide range of powerful vintage emulations to surgical parametric tools, Live’s bundled EQ Eight provides a surprisingly powerful set of features. With Live 10.1’s incoming Channel EQ designed to bridge the gap between EQ Eight and the DJ-themed, performance-oriented EQ Three, it seemed a good time to take a deeper look under the hood of Live’s workhorse studio EQ.

EQ Eight

With four bands enabled by default, EQ Eight supports up to eight bands, which can be activated via their toggle boxes along the bottom of the interface. Each band’s curve can be selected from Bell, Notch, High or Low Shelf, standard High or Low Pass, or steep High or Low Pass.
For most boosting or cutting, Bell is probably sufficient, but for complete removal at specific frequencies, Notch can eliminate selected ranges entirely. The shelving options provide full-band vintage emphasis above the selected frequency with High Shelf, or below with a Low Shelf; a slight dip before the shelf’s boost, or conversely a slight peak before a shelf is pulled down, emulates vintage shelving curves for more natural sonic results at extreme settings.
EQ Eight’s Low and High Pass are designed to eradicate problematic frequencies above or below a selected point, respectively. The default Pass curves provide a reasonably gentle and musical slope, but for more extreme filtration or precise cuts, try the x4 slopes.

PRO-TIP: Rather than use two instances of Auto Filter, you can use a single EQ Eight with one band set to High Pass and another band set to Low Pass to simultaneously process a signal with both Low and High Pass filtration; experiment with the slopes for different intensities, and boost the Q for resonance – and feel free to disable unused bands. Better yet, you could save this configuration as a User Preset.

Band Select

Whichever band is selected, either via clicking its tab at bottom or its corresponding circle in the frequency display panel, you can adjust that band’s Freq, Gain, and Q via the three dials at the left of the device. Freq determines which frequencies are being adjusted, Gain governs the degree of boost or cut in decibels, and Q controls the width, or specificity, of a band, with lower values widening the range of frequencies effected, and higher values narrowing it down.
At the lowest possible Q setting, a Bell curve boosts nearly the entire frequency spectrum, while the highest available Q setting narrows it to a precise needle-point, perfect for surgical edits. A band’s Freq and Gain and be adjusted simultaneously by simply clicking and dragging its dot in the frequency display; hold the Option key and drag the dot vertically to adjust a band’s Q factor.

EQ Eight with five bands enabled: a steep High Pass on Band 1, a gentle Bell boost on Band 2, a very specific Notch on Band 3, a boosted High Shelf on Band 7, and a standard Low Pass on Band 8; Band 8 is currently selected while Bands 4, 5, and 6 are deactivated.

EQ Eight’s output analysis displays the resulting frequency response in real time, allowing you to visually find the frequencies most in need of attention. I have yet to encounter a situation where it might be necessary, but on older machines struggling with CPU, EQ Eight’s analysis display can be switched off for CPU-saving purposes via the upper-right toggle.
At upper left, next to the device toggle, is a reveal button that opens EQ Eight’s expanded frequency display. Once opened, you can drag the top of the widened display to make it as big as full screen. Meanwhile, the standard device area in the Detail View below now provides concurrently accessible Freq and Gain dials along with a numeric Q slider for all eight visible bands simultaneously. Double-click the display itself to disable it.

At left of the Freq and Gain dials are advanced analysis controls for the number of FFT Blocks visualized and the rate they Refresh, both of which require more processing power at higher values. Increasing the Average value slows the rate of change, providing insight to more dominant ranges in the spectra rather than the rapid real-time response displayed by default.

Curve Selection

Not only does the expanded frequency display provide a more detailed view of the spectrum, but wherever the mouse hovers, a small read-out panel in the lower-left of the expanded frequency window now shows the mouse location in Hz, MIDI note (ie., C#4, etc.), and decibels. Hover over a problematic peak in the display to find its coordinates in the readout, then use a Bell or Notch curve to reduce or remove it as needed.

EQ Eight’s full-screen display, with frequency read-out showing the mouse hovered over 1.04 kHz, or C5, at 9.25 dB.

PRO-TIP: When EQing instruments that are still being triggered via MIDI, rather than rely on EQ to reduce specific curves, you can use EQ Eight’s analysis to find MIDI note values causing any

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