FabFilter Pro-Q 4 vs TDR Nova: is the paid EQ worth it?

How to read this comparison

What both plug-ins can do

Both are parametric EQs whose bands can respond to level, which is what dynamic EQ means: a band cuts or boosts only when the signal in its range crosses a threshold. On both, that covers the jobs most producers buy a dynamic EQ for.^[1][2][3]

Dynamic bands with threshold and timing control. Nova gives each of its four bands threshold, ratio, attack and release. Pro-Q 4 sets a dynamic range of -30 to +30 dB per band, with attack, release and an automatic threshold.
Shelf, bell, high-pass and low-pass shapes.
An external side-chain input, so a band can react to another track such as a kick.
Mid or side processing. Nova calls these Sum and Diff.
Band solo, to hear only what a band is working on.
A spectrum analyser that can show the side-chain signal.
AU, VST3 and AAX plug-in formats.^{[2][1][3][4][5][6][7]}

The documented differences

Pro-Q 4 and TDR Nova comparedFacts from each product record and its manufacturer sources. "–" means the manufacturer's documentation does not list it. Editorial rows are our interpretation.
	FabFilter Pro-Q 4	TDR Nova
Pricing	Paid	Free
Plug-in formats	VST2, VST3, AU, CLAP, AAX, AudioSuite, AUv3	VST2, VST3, AU, AAX
macOS	macOS 10.13 or later, 64-bit only, Apple Silicon or Intel; requires an AU, VST 2/3 or CLAP host, or Pro Tools	Mac OS X 10.9 or higher
Windows	Windows 11, 10, 8, 7 or Vista, 64-bit or 32-bit; requires a VST 2/3 or CLAP host, or Pro Tools	Windows Vista or higher
Linux	Not supported or not listed	x86-64 with GLIBC 2.14 or higher
Maximum bands	24	4 dynamic EQ bands, plus high-pass and low-pass filters
Side-chain triggering	Per dynamic band: plug-in input or external side chain	Whole plug-in: internal, external, or internal without side-chain filter
Stereo processing	Per band: Stereo, Left, Right, Mid or Side	Whole plug-in: Stereo, Mono, Left, Right, Sum (mid), Diff (side) or Dual Mono
Spectral dynamics	Yes, per band (linear phase)	–
Wideband dynamics	–	W-Band section
Phase modes	Zero latency, Linear phase, Natural Phase	–
Maximum channel layout	9.1.6	–
Best fitEditorial	Many dynamic moves per track, per-band side chain or mid/side, moving resonances, large sessions	A few dynamic moves per track, learning dynamic EQ, Linux
Facts last verified	21 October 2026	21 October 2026

Editorial The most practical difference is where settings live. In Nova, the side-chain source and the stereo processing target are set for the whole plug-in. In Pro-Q 4, each band chooses its own trigger and its own stereo placement. That one difference explains most of the scenarios below.^[2][3][4]

Where TDR Nova is sufficient

Editorial

You have up to four level-dependent problems on a track, such as a boomy bass note, a harsh synth frequency or sibilance on a vocal.
You want kick-triggered ducking of one frequency range in a bass, and every dynamic band can use the same external side chain.
You want to process only the mid or only the side of a signal, and one target for the whole instance is enough. A second instance can handle the other target.
You work on Linux. Nova lists a Linux build; Pro-Q 4 does not.
You are learning what dynamic EQ is for. Nova costs nothing, and its wideband section and Dry Mix control let you hear compression and parallel processing in the same plug-in.^[2][1][7]

There is also a paid middle step. Tokyo Dawn's manual for Nova GE documents six dynamic bands, per-band lookahead and side chains that can be unlinked from each band's own range. We have not compared GE in detail here, but it is worth reading its manual before deciding that only Pro-Q 4 will do.^[8]

What Pro-Q 4 adds

Each of these is in FabFilter's documentation. Next to each one is the kind of problem it addresses.

Up to 24 bands, and every bell and shelf band can be dynamic. This matters when one track has more than four problems, or on a group or mix bus.
A trigger source for each band. Each dynamic band can follow the plug-in input or the external side chain, using its own frequency range or a free trigger range. One instance can duck the bass's low end from the kick while other bands respond to the bass itself.
Spectral dynamics. A spectral band reacts only to the frequencies inside it that exceed the threshold, not the whole band. FabFilter documents it for problem frequencies that vary over time.
Stereo placement for each band: Stereo, Left, Right, Mid or Side. One instance can treat the side of a pad's low end and the middle of its top end.
Three processing modes. Zero Latency, Natural Phase and Linear Phase. FabFilter describes Zero Latency as sufficient for most applications and calls linear phase "a problem-solving tool", warning that higher linear-phase resolutions can add pre-ring that dulls transients such as a kick.
Collision detection. The analyser can show another Pro-Q 4 instance or the side chain and highlight where frequencies may clash. FabFilter says this is "merely an indication" and you should still listen.
EQ Match against a stored spectrum, another instance, the side chain or an audio file, plus Spectrum Grab and EQ Sketch for faster editing.
An instance list that shows and edits every Pro-Q 4, Pro-C 3, Pro-DS and Pro-G instance in the session.
Character modes. Subtle and Warm add saturation; Clean is the default.
Surround and Dolby Atmos layouts up to 9.1.6, CLAP and AudioSuite formats, and an AUv3 version for iPad.^{[7][3][9][4][10][6][11][12][13][14][15]}

Electronic music scenarios

These examples show how each plug-in's documented features could be applied to common mixing problems in electronic music. They describe a method, not a result. Frequencies and settings depend on your material.

Workflow example · hypothetical, not a test

Kick and bass fighting over the low end

A sustained sub or bass note overlaps the kick's low end, so the kick loses impact whenever both play. You want to dip only the overlapping range of the bass, only while the kick hits, rather than ducking the whole bass with a compressor.

TDR Nova (TDR Nova): Put Nova on the bass, select EXT SC and route the kick to its side-chain input. Set one bell band over the overlap with a threshold low enough that the kick triggers it. Because the side-chain source applies to the whole plug-in, the other bands also follow the kick, so keep this instance for this one job.^[2]
Pro-Q 4 (FabFilter Pro-Q 4): Set the overlap band to dynamic and switch only that band to the external side chain. Other bands on the same instance can still react to the bass itself, for example to control a boomy note. With the kick's own Pro-Q 4 chosen as the external spectrum, collision highlighting gives a visual hint of where the two overlap.^[3][6][16]

Editorial Both can do the core move. Pro-Q 4 is more convenient when you want side-chained and self-triggered bands in one place, or want a visual cue for where the clash is. That is a workflow advantage, not a claim about sound.

Workflow example · hypothetical, not a test

A resonant synth line that whistles on some notes

A resonant filter on an acid-style or lead synth produces a peak that moves as the cutoff sweeps or the notes change. A static cut would thin out the line even when the peak isn't present.

TDR Nova (TDR Nova): Use a wide dynamic bell across the range the resonance sweeps through, with a threshold set so it only compresses when the peak gets loud. Band solo helps you hear where the peak sits. The whole band is reduced when it triggers, so a wide band will also pull down neighbouring frequencies.^[2]
Pro-Q 4 (FabFilter Pro-Q 4): Switch a wide band to spectral dynamics. FabFilter documents that it reduces only the frequencies within the band that exceed the threshold, which is the behaviour this problem calls for. Spectral bands run in linear phase, so they add latency, and FabFilter suggests Low or Medium resolution for frequencies above 1 kHz.^[9]

Editorial This is the scenario where Pro-Q 4's documented features fit the problem most closely. Spectral processing adds latency, so it suits mixdown better than playing a synth live through the plug-in.

Workflow example · hypothetical, not a test

A wide pad with muddy sides and notes that poke out

A wide pad or chord stack has low-mid build-up in its sides, and some notes poke out in the upper mids. You want to tidy the low side content permanently and tame the louder notes only when they occur.

TDR Nova (TDR Nova): Nova's processing target applies to the whole instance. Use one instance set to Diff (side) for the low-mid work and a second instance on Stereo for the upper-mid dynamic band.^[2]
Pro-Q 4 (FabFilter Pro-Q 4): In one instance, set a low-cut or shelf band to Side and a dynamic bell to Stereo or Mid. FabFilter's stereo documentation gives cleaning up low-end in the mid or side channel as typical uses.^[4][3]

Editorial Two Nova instances can cover this. Pro-Q 4 keeps it in one place, which matters more as the number of such tracks in a session grows.

Workflow example · hypothetical, not a test

Matching a reference or finishing a premaster

You want to compare your mix's tonal balance with a reference track, or make broad corrections to a full mix where phase shift matters to you.

TDR Nova (TDR Nova): Nova's analyser can show the side-chain signal, so you can feed a reference into the side chain and compare by eye, then shape the curve by hand. Its manual does not document a linear-phase mode or automatic matching.^[2]
Pro-Q 4 (FabFilter Pro-Q 4): EQ Match can analyse a reference from the side chain, another instance or an audio file and propose the bands needed to approach it, which you then review. Natural Phase and Linear Phase are available when phase behaviour matters, at the cost of latency in linear phase.^[11][10]

Editorial EQ Match gives you a starting curve to review, not a finished master. If you rarely work on full mixes, this alone is not a reason to buy.

Compatibility and workflow

Logic Pro uses Audio Units plug-ins. Both list an AU version.
Linux: only Nova lists a Linux build (x86-64, GLIBC 2.14 or higher). iPad: only Pro-Q 4 has an AUv3 version.
CLAP and AudioSuite: only Pro-Q 4 lists them.
Latency: Pro-Q 4's Zero Latency mode is FabFilter's documented choice for most work. Linear-phase modes add 3,072 to 66,560 samples at 44.1 kHz, depending on resolution. Nova's manual shows its latency in the Settings dialog but doesn't publish a figure.
Pro-Q 4's instance list depends on host features. In Audio Units hosts such as Logic Pro, tracks are sorted alphabetically and track colours are not shown.
Nova's format list on Tokyo Dawn's site is not labelled by operating system; see the open question on the TDR Nova product page.^{[17][1][7][15][10][2][13]}

Who should buy Pro-Q 4, and who probably shouldn't

Editorial Consider Pro-Q 4 if most of these describe you:

Editorial

You regularly run out of four dynamic bands, or open two or three Nova instances on the same track.
You mix side-chained and self-triggered EQ moves, such as kick and bass work, on many tracks.
You deal with moving resonances in synths or vocals and want spectral dynamics.
You use per-band mid/side processing on pads, stereo synths, buses or premasters.
You need linear or Natural Phase processing, Atmos layouts, CLAP or an iPad version.
You work in large sessions and would use the instance list and collision detection.

Editorial You probably don't need it yet if:

Editorial

You are still learning when to use dynamic EQ at all. Nova, or the static Channel EQ that comes with Logic Pro, will teach you that at no cost.
Your dynamic EQ use is one or two moves per track.
You produce on Linux, where Pro-Q 4 lists no build.
You expect a paid EQ to make mixes sound better by itself. We have no evidence for that, and FabFilter itself describes its zero-latency mode as sufficient for most work.^[10]

A practical way to decide

Editorial

Use Nova on your current projects first. Write down each EQ problem you could not solve, or solved only with extra instances.
Compare that list with the documented differences above. If nothing on it maps to a Pro-Q 4 feature, you don't need to buy.
If several items do, use FabFilter's 30-day trial on the same projects and check whether those specific problems become easier.^[7]

Questions

Is TDR Nova good enough for electronic music?: For a few dynamic moves per track, its documented features cover the common jobs: four dynamic bands, an external side chain for kick-triggered ducking, mid or side processing and band solo. Its limits are the band count and that side chain and stereo target apply to the whole instance.^[2][1]
Does Pro-Q 4 sound better than TDR Nova?: We haven't run listening tests and make no claim either way. FabFilter describes Pro-Q 4's Zero Latency mode as sufficient for most applications. Its Subtle and Warm character modes deliberately add saturation, which is a choice rather than an improvement.^[10][14]
Can both be used for side-chain EQ in Logic Pro?: Yes. Both list AU versions, and both document a side-chain input selected from the side-chain menu in Logic's plug-in window. Pro-Q 4 lets each dynamic band choose whether to use it.^[2][16][3]
What does spectral dynamics do that a normal dynamic band doesn't?: A normal dynamic band changes the gain of the whole band. A spectral band in Pro-Q 4 reduces only the frequencies within the band that exceed the threshold, and runs in linear phase, which adds latency.^[9]

Short answer

How to read this comparison

What both plug-ins can do

The documented differences

Where TDR Nova is sufficient

What Pro-Q 4 adds

Electronic music scenarios

Compatibility and workflow

Who should buy Pro-Q 4, and who probably shouldn't

A practical way to decide

Questions