Yes. If you read Electronic Musician magazine (Feb 2016) move to page 34 and you'll find the image below...



Now Even More Powerful

With the release of bx_digital V3, the bar just got raised again. The major update extends the High Frequency band's upper range to 40 kHz to sweeten and add ‘air’ to high-resolution audio tracks, mixes and masters. A Dynamic EQ module, API-style Proportional Q filters and six notch filters (three per channel) have been added to handle any surgical mix or mastering task, making it a perfect tool for film mixing and post production as well. The unique Bass and Presence Shifters have been made much more versatile, each now offering a selection of three different tilt filters that balance and unmask hidden details in your mixes. V3's transparent high pass and low pass filters now provide alternate slopes to sculpt your tracks' high and low end and selectively weed out rumble and hiss with greater precision. And the new, global Gain Scale control makes proportional gain changes to all parametric, shelving, and Bass and Presence Shift filters at once—preserving your carefully wrought balance across all bands as you dial in the perfect overall amount of EQ.

V3 for Clearer and Cleaner-Sounding Mixes and Masters

V3 is not a "character" EQ. It's eminently pristine, using ultra-transparent filters that minimize phase shift and frequency masking to deliver clearer and more focused mixes and masters. The Bass and Presence Shifters produce opposing boosts and cuts in adjacent bands to prevent excess spectral energy buildup that can make mixes sound boomy, blurry or edgy. Each Shifter in V3 offers a selection of three different tilt-equalization sounds featuring different boost and cut frequencies, bandwidths and relative gain. Use them, for example, to boost your mix's low-bass punch while simultaneously clearing out muddy upper-bass and low-midrange frequencies. Or increase presence to spotlight guitars and vocals, while softening searing cymbals. You'll work faster: a mouse click and single knob twist are all it takes!

• Features
  
  • Three operational modes: L/R (dual-mono), M/S Master (Mid/Side) and unique M/S Recording (processes Mid/Side signals in real-time and outputs L/R stereo)
  • Mono, dual-mono, stereo and Mid/Side configurations, multi-mono (Surround)
  • Two component plugins simplify and speed workflow for mixing and mastering
  • Eleven broadly overlapping bands per channel
  • LF, LMF, MF, HMF and HF bands are fully parametric (offering separate Gain, Q and Frequency controls in each band) and can be switched globally for Proportional Q response
  • LMF, MF and HMF bands each provide notch filtering at their lowest gain setting, while offering adjustable Q per band
  • LF and HF bands provide respective low- and high-shelving EQ at their lowest Q setting
  • Separate, continuously variable low-pass and high-pass filter for each channel, each offering 6dB or 12dB/octave slope or bypassed state
  • Bass Shift and Presence Shift modules each offer three tilt-equalization sounds
  • Dynamic EQ module boosts or cuts only when needed to correct undesirable, momentary peaks or enhance your signal with creative boosts
  • Gain Scale control adjusts all gain controls for parametric, shelving, and Bass and Presence Shift filters at once; negative values invert the EQ curve to change boosts to cuts and vice versa
  • Mono Maker folds frequencies to mono below its selected corner frequency (20 Hz to 22 kHz), lending focus to any part of your mix and helping to preserve the side channel's headroom when tightening the low-end
  • Extremely flexible control linking: Each band and filter can be independently linked with its respective counterpart in the opposing channel (left-channel filter linked to its corresponding right-channel filter, or mid linked to side)
  • Highly flexible Solo, Auto-Solo and Auto-Listen functions: each channel can be soloed manually using latching Solo buttons, or momentarily soloed by clicking touch-sensitive band-filter controls (Gain, Q or Frequency—alone or together in any combination)
  • Comprehensive imaging controls for high-level mastering and sound-design: independently pan mid and side channels, widen the stereo image, swap left and right channels and center the phantom stereo image
  • High-resolution meters: Pre EQ (left and right channels), Post EQ (mid and side channels), Output (left and right channels), L/R Balance and Correlation
  • Frequency-response graph for each channel continuously updates to reflect control changes
  • Four global plugin setups can be stored, recalled and automated
  • 32 steps of Undo and Redo
  • Latency-free processing enables real-time recording of M/S microphones
  • Support for high sample rates

... so we have to wait ... the official news !!! (Official page)

 

Last edited: Jan 14, 2016

Dont't like 'best world eq plugin'. Just comercial words. PA is going Avid shit path?

 

@noise.maker
I use it (V2) on master buss every time... mid/side mode is awesome... believe me.

 

v3 and still no colours ?!?

@thantrax
Looking at Your avatar explanes why You like it

 

@Rhodes
One only: dark grey...

 

In my short life ive never heard eq(plugin form) like this for mastering: http://www.algorithmix.com/picts/lpeq_orange_v13_big.jpg

 

V2 may not have the jazzy interface of other plugins. But it is just so capable. V3 will be epic. Hope they don't charge an arm and a leg for an upgrade.

 

Really good eq!

 

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Brainworx bx_digital V3 EQ Plug-In Collection — $299 USD (Upgrade for UAD bx_digital V2 plug-in owners — $49 USD)

No info about prices on Plugin Alliance and Brainworx sites.​

 

Last edited: Jan 21, 2016

I like the the addition to the filters GUI not bad but does the dynamic EQ doubles as a desser i like the desser n v2 still doesn't look bad and being a brainworx plugin i know it will son great