Usually, solid-state processors are the progeny of their tube-based vintage parents. However, the Bettermaker Valve Stereo Passive Equalizer is similar in form and function to its predecessor, the solid-state Bettermaker Stereo Passive Equalizer introduced in 2022. Both are stereo, two-band, passive equalizers with selectable frequency and variable bandwidth. Both versions work as standalone equalizers and/or can be controlled via a Native plug-in supported by AU, VST, or AAX hosts.

Parameter changes are bi-directional. In the plug-in, mousing a control knob, switch, or a node in the spectrum analyzer are immediately indicated on the front panel via a ring of red LEDs surrounding each control knob. Likewise, changes made using the VSPE's front panel controls are indicated in the GUI. The VSPE interfaces to your computer using a USB cable--but no audio passes through it. The VSPE itself must be connected like any other analog stereo EQ, in the signal path with the plug-in also inserted into the same audio channel in your DAW.

Bettermaker Valve Stereo Passive Equalizer

A comparison of the listed specifications of Bettermaker's Stereo Passive Equalizer with the new Valve Stereo Passive Equalizer reveals that they are nearly identical, with same performance, frequency choices, boost/cut ranges, and a Hi-Boost Curve that changes the Q for the high frequency equalizer. I like that there are no rotary switches to replace; small lighted push buttons step through frequencies choices and are good for finding the sweet spot.

The differences between the SPE and VSPE start to emerge with dual-triodes tubes (valves) used as output amplifiers. The Valve version has a Heat feature, which switches in another amplifier to drive the valve output amplifier and transformers harder. To compensate for the level increase, a 6dB pad is inserted and the unit's output impedance changes from 1,200-ohms down to 30-ohms. By using relays, switching Heat in/out is seamless.

The VSPE has an exacting, semi-parametric high-pass and low-pass filter set; it runs like a conventional EQ plug-in--only in the software. These have slopes of either 12dB/octave or 24dB/octave with the HPF ranges from 20Hz to 500Hz and LPF ranges from 1kHz to 20kHz. Setting this filter is my first step when developing an EQ for any source.

Days of Future Past

Like the Pultec EQP-1A Tube Program EQ, you can boost one frequency and, at the same time, cut at the same frequency. This contorts the resultant response curve as shown on the spectrum analyzer. The VSPE does the same trick but also adds high frequency choices of 20 and 28kHz to standard Pultec frequencies are there with: 3, 4, 5,6, 8,10,12,16-kHz. The Low frequency section covers: 20, 30, 60, and 100-Hz.

The main reason I am drawn to the Bettermaker Valve EQ is its smooth tube/transformer sound controlled by a modern, plug-in interface. It is a time-proven, vintage design that benefits greatly from modern software with its precision control, preset memories, and resizable GUI. For fast A/Bs, there is the handy snapshot window above the main widow for storing up to 32 snap shots--or, copies of presets. Changing snap shots, as well as all the VSPE controls, are automatable.

There is a switchable Auto Audition solo for hearing the range of frequencies affected by a selected EQ band. There are also stereo Input meters but no output meters. The spectrum analyzer shows the audio superimposed with color-coded EQ and filter curves. There is a drop-down menu for the operational preferences of the Analyzer that includes zoom, resolution, window size and more. These settings are saved with the presets.

Also saved with the preset is an unique feature called Control Resolution. There are 101 steps for Lo Boost, Lo Cut, Hi Boost Curve, and 34 steps for Hi cut. In Quantize mode, this is streamed down to 17 steps. Changing from low to high resolution does not affect already written automation. This mode is disabled in standalone operation.

The Connection Menu is used to connect and switch plug-in control of multiple VSPE units for ATMOS mixing or for use on different tracks in your mix. I didn't test this, but you would connect a USB cable from each VSPE to a hub, then select the desired unit from a window in the upper-right corner of the GUI.

Back Panel of the Bettermaker Valve Stereo Passive Equalizer

Controlling hardware gear via a connected plug-in or standalone software is a new trend--look for popular outboard gear starting to be offered with and without front panel controls. My Eventide H9000R is a blank panel version of their H9000 Ultra Harmonizer and is controlled by its Emote plug-in.

Inside Story and Features

Like the black-panel SPE, behind the VSPE's blue front panel is a single, large circuit board that holds all the switches, LEDs, and the five mounted controllers. VSPE is powered by a 12-volt wall-wart with AC line plug adapters for use anywhere in the world.

Inside on the main board are a DC-to-DC converter, two matched inductors for the equalizers, associated ICs for the USB GUI interfacing and the circuitry for driving the distinctive, red LED rings around the controls. Low noise, Burr-Brown op amps are employed, along with a set of (Mil-Spec), high-reliability relays for the hardwire bypass and for engaging Heat.

A separate board has the tube output amps with two, (new-old stock) Soviet-made pencil vacuum tubes. These are carefully matched and tested twin-triodes that are soldered in place; they drive the two large Bettermaker TT-1 output transformers (one for each channel) that are made in Poland. The tubes and internal fuse, would have to be replaced by the factory, if ever required.

Hot About Heat

Stick-on paper labels are used to identify the Heat and/or Reset buttons on the VSPE. The Gain/Reset button, when held down for two seconds, resets the entire VSPE. Tapping the same button puts the unit into a "secondary layer" with Heat mode on and the Gain/Reset button (annoyingly) flashing red. The 5-kHz LED in the Hi-Cut band is also lit red, with the Hi-Cut control now becoming the Gain control used to set final output level and for overdriving the tubes and transformers.

All the other controls on the unit go dark and inoperative while in Heat mode. The equalizer controls are adjustable in the plug-in, or tap on the Gain/Reset button again, and you're back to the "first layer" for normal operation. For fast A/Bs of Heat on/off, simply tap the 5-kHz button while in Heat mode. In my opinion, all Heat operation and control should be done in the software, seeing as a dedicated Gain control and Heat on/off button are already there.

Bettermaker VSPE GUI in Stereo

VSPE In The Studio

I connected the VSPE to stereo pair of balance I/O channels from my DAW. The VSPE was placed in the chain before my Manley NuMu Compressor Limiter for a mastering session.

I had a reggae song with a very loud kick drum and bass guitar--super big with a lot of subsonic level. The total sub-sonic energy was good until the bass player started to play a busier 1/8th note pattern in the choruses. Then the whole bottom end became a muddy mess.

I set up two snap shots: a verse EQ with just a Hi boost at 6-kHz and the second snapshot for the correcting the booming low frequency on the choruses. I automated changing snapshots in Pro Tools.

For the corrective snapshot, I first set the digital filter set to 24dB/Oct at 49Hz. Next, Lo Boost was at 2.8 at 100Hz, with Lo Cut at 1.0. The Hi Boost Curve was very broad at 6-kHz and Hi Boost at 3.3, with no Hi Cut. The digital filters are set by mousing over their knobs to read their current value in a pop-up window; the filter's action is displayed in red curves. You can grab these curves with your mouse and move them to your liking.

The Gain control was at 1.6 but that depends on how much level you want to drive into the following compressor. It was easy to get -10 LUFS with this all-tube chain--if you're interested. Because of its high precision and Class-A operation, the VSPE makes a great, two-band mastering/touch-up style program EQ.

Dual-Channel Mode

In dual-channel mode, the VSPE becomes two, single channel EQs selectable in the software; both channels are unlinked, so you can dial up completely different settings on each. I like dual mono mode for vocals, kick drums, bass synths, acoustic guitars and more. I tried dual mono mode followed by an API 529 VCA-based stereo compressor/limiter for two clean electric guitar tracks and loved it. The Heat feature fatten them up nicely giving them a certain color in the track.

Barry Rudolph  Barry Rudolph is a recording engineer/mixer who has worked on over 30 gold and platinum award-winning records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, The Corrs, Mick Jagger and Rick Rubin. Check: Wikipedia A three-time Grammy-winning engineer, Barry has his own futuristic music mixing facility called Tones 4 $ Studios. He is a lifetime Grammy-voting member of NARAS, and Contributing editor for Mix Magazine. Check out: www.barryrudolph.com     www.gearlust.com

Bettermaker  Web: Bettermaker Product: Bettermaker Valve Stereo Passive Equalizer Price: $2,999 USD Each Pros: Classic Passive EQ Design that sounds great Cons: The software interface and instructions could be better.

Barry Rudolph is an L.A.-based recording engineer. Visit his Web site at: WWW.BARRYRUDOLPH.COM

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