Great for mastering applications, one visible new feature is the full-screen mode for getting up close and personal with your carefully sculpted EQ curve. I like Auto Gain--it automatically compensates for the audible gain boost/loss by active EQ bands and is an honest way to A/B or compare EQ changes. There is more detailed and nuanced Gain-Q interaction between the different filters--just as with analog hardware EQs, and the new FabFilter Pro•Q² adds more slope curve choices for all filter types. For intensive sonic surgery, you can construct ultra-narrow bell filters or very steep shelves with slopes of up to 96 dB/Oct.

I was impressed using the new Spectrum Grab feature--a way to directly access any peak (or dip) in the spectrum analyzer display and instantly insert a corrective EQ curve at that frequency. This is "instant gratification" equalizing.

Another winner I'm starting to use more is EQ Match in which another track is sent to Pro•Q²'s side chain input (key input) that'll allow you to match (or duplicate) the EQ curves used on another track. This works very well to match a vocal EQ on a new track to an existing (old) track with an unknown EQ setting. Great when song files (recorded and produced by someone else) are sent for a remix project and you're required to match the old vocal EQ when recording/mixing a new one.

Pro•Q² maintains everything from the original FabFilter Pro•Q. There are up to 24 EQ bands, multi-band selection, separate (linkable) channel EQ in L/R or M/S mode, real-time spectrum analyzer, intelligent solo mode, double-click text entry, stereo/mono plug-ins, and Pro Tools hardware surface support.