has several appealing aspects, not the least of which is a remarkably clean, transparent sound. Unlike many other EQs, Firium is a linear-phase EQ. As such, it exhibits virtually no phase distortion around the adjusted frequency bands. There are no types such as shelving, notch, or highpass to choose from; instead, Firium gives you one continuous frequency curve with 50 control points. Single points can be adjusted, or the entire curve can be reshaped by drawing in the plug-in’s interface.
New to V2 is the ability to match the frequency curve of one audio source to that of another.
In practice, “grafting” frequency contours to my mixes didn’t yield immediately useable results. Often, I ended up scaling the curve using the scale control, or eliminating parts of the source curve entirely. In other words, Firium’s match feature isn’t a magic bullet. It’s still pretty cool, though, and can be put to good use as a way to build up curve presets.
Also new is the States function. Up to 50 snapshots (states) can be stored/loaded into the plug-in; each state can be “triggered’ by using the host’s automation, which is a creative way to access various curves over the course of a song.
My complaints are few: There’s no way to zoom into the spectrum analyzer to get a better picture of what’s going on in specific frequency ranges, and there’s noticeable delay, so if your host doesn’t support plug-in delay compensation, you’ll need to manually offset tracks effected with Firium. Fortunately, the plug-in displays the delay amount.
These minor shortcomings are certainly overshadowed by the flexible design and transparent sound. For sonic surgery on solo tracks and complete mixes, this one is hard to beat.