Equalization Empirical Labs Style

The Empirical Labs ELQ LIL FREQ Equalizer, as with Empirical Lab’s other signal processors, takes a somewhat unique approach to its job. Instead of daisy chaining several equalizers and frequency processors, we combined most of the sound sculpting tools an engineer needs into a compact single rack space box, while still offering the highest performance of any design in its class.

The EQ Sections

There are eight sections of processing – what other EQ offers that? Even better – in addition to a master bypass, each of the Lil FrEQ’s sections features its own dedicated bypass switch, letting you instantly A/B the effect of each section as you adjust and fine-tune them.

High Pass

The High Pass section is a really easy to use sharp filter that cuts all content below one of eight preset frequencies from 30-330 Hz. This filter is very steep and has a special shape that prevents frequencies from thinning out just above the cutoff point. The corner frequency is selected using up/down buttons, and indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged.

High & Low Shelving

These two knobs function similarly to the familiar “bass and treble” tone controls found on many consumer audio playback systems; however, these are designed to a much higher performance standard, providing exceptionally smooth and musical boost and cut on the high and low frequencies.

Parametric EQ

The Lil FrEQ has four sections of fully parametric EQ (LF, Lo Mid, Hi Mid and HF), with each section featuring individual gain, bandwidth (Q) and frequency controls. It may be the cleanest parametric EQ section ever produced, operating below .0007% THD (Total Harmonic Distortion) even at extremely high audio levels.

DS (Dynamic EQ)

The DS section provides the highest performance, easiest to use, and possibly most natural sounding “De-esser” ever built. This powerful tool combines tunable filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants or other sharp transients, especially in the absence of other lower frequency content. It can also function as a one of a kind soft knee High Frequency limiter, which is one of the main things responsible for the Lil FrEQ becoming the go-to vocal EQ for engineers everywhere. It has been used on many acclaimed albums and major live performances all over the world, becoming the “go to” EQ for key tracks like lead vocals, snares, and bass. There are now dozens of hit record vocals that were processed thru the Lil FrEQ.

Trak Pak

There are engineers who enjoy the flexibility of being able to EQ audio signals when they’re tracking. For them, we offer the Trak Pak – a combination of our Mike-E and Lil FrEQ processors set up for seamless integration. With a killer mic pre, famed ELI compression, tape saturation and eight individually defeatable EQ sections, we feel it’s simply the most powerful and flexible “channel strip” solution available.

One Of The Most Powerful Analog EQs Available

“Hey Dave… so I got the box, plugged it in on an Etta James vocal that I was having problems with… and it rocks. This is a great box, my friend. I can see anybody with a DAW wanting to use this thing. I am using the shelving, DS’ing and transformer out, and I am just thrilled…” – Ed Cherney (Lenny Kravitz, Dave Mathews, Eric Clapton, The Wallflowers, Goo Goo Dolls, Jackson Brown, Bonnie Raitt, Stones, etc.)

“A monster that will destroy the way you think about EQ.”

– George Peterson (Mix Magazine)

“…and on the third day, the big guy made the Lil FrEQ…

and everybody went f*ck’in freaky.” – Michael Brauer

Stereo Control

If you like to track and tweak in stereo…or you want a really powerful EQ option to use on stereo sources in live or mixing applications….or you already know you’re going to love this piece so much that one just won’t do it…the Lil FrEQ is twice as nice in stereo!

• Frequency Response - 5 Hz to 140 kHz on transformerless inputs and outputs
• Transformer Output response is 10 Hz to 110 kHz
• Dynamic Range - 120 dB from maximum output (.1% clipping) to minimum output. Greater than 110 dB signal to noise
• Distortion Ranges between .00056% and .005% depending on mode and settings. DS section has THD < .005%
• DC coupled Input and Outputs and one transformer coupled output
• High quality audio caps used internally
• Dynamic Time Constants - Attack is approximately .5 mS. Release .04 sec, fixed internally