Like with other Pulsar Audio products, 8200 feels like a plugin where the developers have thought through virtually everything you could want from an equalizer. It allows both surgical moves to address specific mix issues and broad, musical curves for general tone shaping. In fact, this is the first EQ I’ve used that has virtually replaced the need for a FabFilter-style digital EQ in my workflow, as it comfortably handles both corrective and musical tasks in a single interface. The EQ bands operate in parallel, meaning overlapping bands near the same frequency don’t stack their gain, which is particularly useful in mastering scenarios.
The sub and air bands are reminiscent of classic Pultec curves: the “sub” band enhances low frequencies while subtly cleaning up low-mid mud, and the “air” band adds high-frequency openness while helping to reduce excessive harshness. The tilt band is [I]very[/I] effective for quick tonal adjustments when a mix feels either too dull or too bright. You may actually be surprised by how effective it is, so I really encourage you to try it out.
There’s also a built-in de-esser, eliminating the need to reach for a separate plugin, as well as an auto-gain function. Left/right and mid/side channels can be soloed and adjusted using their own EQ curves, which [I]avoids the visual clutter and confusion of viewing multiple curves at once[/I] - something I don’t like about mid/side EQ in FabFilter for that very reason.
Overall, Pulsar Audio 8200 is flexible enough for both detailed corrective work and broad tonal shaping, making it equally at home in mixing and mastering contexts.
