@Luiza Milenova Thank you and I’m so very glad you’re day is a little bit brighter. Keep doing The Good that you do - it makes this World a better place.

I’ll admit I’m an SSL Fanboy; I use the Slate Complete Access Subscription, and I agree with @Tom Baldwin - Hard to go wrong with the 9000K. Place two in series in your DAW track for added control. Put at least one on every track, every Bus, every Sub. You won’t be disappointed.

Ugh. And I thought 2025 was a bad year... Sad to learn this... but, glad I got to hear the fruits of his labors!

Sadly, Apple/Logic is targeting the less Pro (or Non-Pro) mixing person. Pre-package a bunch of stock plugins and routings to make the Session Players sound compatible with other AI results from other DAWs. W/R/T the multiple EQs, I frequently will have a "cleansing" EQ, a "tonal/shaping" EQ, and a "spatial" EQ in the signal chain for tracks that need that special kind of Love. Kicks, Snares, Basses... quite common to have two EQs on the channel, possibly split/duplicate the track, process it all, sum it back to a single channel instance and process THAT. Yes, it's a lot, but how does it SOUND? I agree that the Session Players have an inordinate amount of processing loaded onto them; I often strip all of it off... getting back to the "raw" instrument, and process from that. Extra steps? Yeah, but, then, it's MINE. If the mix is bad, it's on me, not some unknown, unseen developer (yikes!) or inexperienced Producer/Mixer's choice of processing. C'est la guerre... Go forth and do the best that you can do. Use what sounds good and toss the rest. And, maybe, just maybe, you'll create someone's next favorite song. 😎

@William Yung The Kush Clariphonic is a parallel EQ... and the Elysia MusEQ High and Low cut filters are also (electronically) parallel filters. I've seen Mr. Worrall's video on Parallel EQ, and it's deep...thought provoking, even. But, I will use "cleansing" EQ if I happen across a track that is giving me problems... can't seem to fit it in the mix, so, I'll EQ it in solo (*gasp!*), using a fully parametric, graphical EQ to find and tame the rough parts. What I'm attempting to deal with then are the obnoxious frequencies that seem to persist no matter what note is played. Also, take out any room resonance or ugly midrange mud. I might even add some high-mid (for track clarity), or even high-end for air. Lastly, and usually after the last compressor on a track, I'll add "spatial" EQ, where I might be looking to add some midrange to affect depth of field, or apply some mid-side technique to enhance one area or the other. When I worked as a Live Sound Engineer, I would try to find an instrument's most obnoxious two frequencies, then decide if I should enhance them or tame them. In Studio, it's an either-or situation...whatever the track needs to keep that emotional impact of the Performer/Artist/Producer. That's my nickel's worth, anyway... YMMV...😎