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TOKYO Tube EQ | Tips and Tricks + Highlights from reviews

Here, for you, are some very useful tips and tricks + reviews from Gearspace and the AA FB page, meticulously collected by our kind power-user David Gary in one thread for our TOKYO plug-in.

TOKYO is designed to give your tracks a beautiful, warm, vintage colour.



TOKYO TUBE EQ andTAIPEI STUDIO TAPE RECORDER: quick test on a classical guitar.

NEW Tokyo 2.0 Test

Using Fire the Pump by Acustica Audio with London Acoustics Plugins

Highlights from reviews

1) It is my go-to EQ now when mastering.
I’m a hobby-mastering guy, that enjoyed sound since i was small and built car stereos, to get it hi-fi and put some serious effort to sound. This thing sound sweet as hell, never driven, just, light! Like pulling a blanket of the sound… I’m seriously impressed.
Was looking for the other contender for EQ: s and N4, Bronze… But I went with this one. Bronze is more sculpting and it does sound good. But this thing!! Definitely a shaping tool…

↪ reply: I have the same feelings towards it. I was demoing bronze as well as this as I want an eq that brings something a bit special and felt more towards this one. I’m not mastering though just making music – feel connected to the sound of Tokyo, it feels right.
It’s strange because eq’s don’t sound like they are noticeably detached from the sound, yet Tokyo sounds like it’s noticeably at one with the sound. Removing a blanket is a good way of putting it, it doesn’t get too bright or harsh at all, just opens things up. The pre sounds great!!

2) Without a doubt and surprisingly, Tokyo is becoming my favorite or should I say most used color eq ITB for mixing. On tracks and/or mix bus alike.
I already commented about the eq’s ability to “polish a turd” but I also I love love love the color and the depth. Not too much in any particular direction. Goldilocks’ baby bear syndrome. Imo it does need to be paired with something tighter and/or punchy in the lows though. You won’t get the forward punch of Pink2(C), the density of Cream, or the tightness and low-end extension of Azure. It is undeniably tubey down there ala Magenta/UAD MP. I also don’t get hugeness like Purple or Cobalt but rather more focused the mids. Tokyo is really its own thing, pure velvet.

3) I’m really enjoying this fantastic equalizer for mixing tracks especially for correction. So far I’ve been reaching for the Tokyo eq over all the Aqua mixing options unless I want the low-end from Gold for example. I also try it before using an eq like ProQ2 for surgical as it tends to result in a more musical outcome albeit probably not as precise. I find eqs like ProQ2 pretty tempting to go too far. Tokyo keeps you in bounds with its band and Q limitations. If I need more then it’s a fair bit easier.
Sound wise, Tokyo is relatively clean but undeniably warm, natural, and makes tracks sound better. Perfect for itb. This includes the preamp. As I’ve reviewed elsewhere, the end result doesn’t sound like an eq was used. More like the audio went back in time and was tracked more to your liking. That goes for both boosting and cutting.
A true itb hero especially for less than stellar home recordings. And the best part is the price! Looking forward to more.

Q: The Eq is warm, without being coloring, and clean, without being surgical. I own, among others, the ProQ2 and Ozone8, which I like both, and my favourite coloring Eqs are
UAD Pultec Overloud EQ550 Soundtoys Sie-q Waves TGI channel strip Eq Waves SSL E-channle Eq Acustica Audio Diamond
The Diamond I have only demoed, the price is too high, and the CPU. too. I wonder how the London/Tokyo compares to these?
A: It’s not as clean as Pro Q2 or Ozone8 for sure which both of those lean towards transparent and have no character. Tokyo is not that.
Of the eqs you listed, Tokyo has the cleanness of Diamond without the preamp, the warmth and natural tone more toward the UAD Pultec but although fixed choices, you also have more flexibility over the Q value like the Waves SSL channel eq. Also, aside from MAYBE Diamond, you will find it easier to boost without getting into harshness with Tokyo EQ than the rest. Its far more musical. It does however have a very different character than the SSL, TGI, 550 and the Pultec especially in the lows so it may not be what floats your boat BUT…
Give it a demo. I certainly would purchase it over everything you listed except for Ozone8 and ProQ2 which have their particular uses but for adding some analog color without being too heavy-handed Tokyo is a good option.

4) TOKYO TUBE EQ Trick: Low-End & Silk

↪ reply: That drum trick really woke up ez-drummer like nothing else. That one and cream-comp, they really seem to play well together.
But Tube eq! Damn, it is one sweet eq…
Liking it for mastering to… Especially the highs…

↪ reply:
Works very well in every kind of drums (sampled or real) and basses, to give life without make mess in the overall mix.
Agreed, Cream comp is a perfect match. Also, Ebony comp.
Exactly like some classic hardwares, Tokyo Tube EQ was intended mainly as mix equaliser, but, at the end thanks its high quality, and nicety, it’s perfect too for colouring the master buss (maybe keeping the pre at low levels).

5) I put it on a bus combined with sand eq, followed by sand bus compressor with the needle barely moving, the result sounded 3d, glued and finished. Sold a lot of plugins lately and purchased hardware, but the combination of nebula/acqua eq’s and comps is great.

Download the TOKYO PATCH BOOK 2020 v1.0: