From precise tone shaping to boosting particular frequencies, or recapturing frequencies sucked dry by your go-to drive pedal, there are myriad reasons for housing an EQ on your ’board. We’ve rounded up 10 solid options for you to peruse and consider making your new favorite friend in your signal chain.
BOSS
EQ-200This pedal offers two 10-band EQ channels with a graphic display, multi-function switches, and onboard memories which allow a player to store multiple setups for instant recall.
$249 street
boss.info
MXR
M108SFeaturing 10 EQ sliders with carefully selected frequencies and a +/- 12 dB boost/cut range, this sound-optimizing pedal can also be used as a tweakable boost pedal, with its volume and gain sliders.
$129 street
jimdunlop.com
WHIRLWIND
Perfect 10Featuring a circuit design created by industry legend Tony Gambacurta, this 10-band constant-Q equalizer lets players target specific frequency ranges with surgical precision.
$238 street
whirlwindusa.com
BEHRINGER
EQ700This value-rich EQ provides sound shaping and feedback elimination through its seven bands of equalization, with a wide frequency range and a powerful 15 dB boost/cut per band.
$28 street
behringer.com
MESA BOOGIE
Boogie Five-Band Graphic EQLong a lauded component in Mesa’s amplifiers, this powerful tone-shaping 5-band EQ is now in a handcrafted pedal formant to help capture the company’s classic sound, and much more.
$279 street
mesaboogie.com
SOURCE AUDIO
EQ2 Programmable EqualizerThis combination graphic and parametric EQ features 10 fully adjustable frequency bands, stereo ins and outs, MIDI in and thru jacks, presets galore, and even an integrated tuner.
$269 street
sourceaudio.net
EMPRESS EFFECTS
ParaEQThree bands of parametric EQ, each with three selectable Q widths, provide for very flexible sound shaping. Designed to be ultra-transparent and noise-free, the pedal’s boost section offers 30 dB of clean boost.
$249 street
empresseffects.com
J. ROCKETT AUDIO DESIGNS
I.Q. CompressorThis EQ/compressor features a 6-band graphic, pre-compression EQ—each with 18 dB cut or boost—which allows you to choose which frequencies you want compressed harder based on their respective gain setting.
$229 street
rockettpedals.com
TECH 21
Q\StripDesigned to emulate the EQ sections of the iconic recording consoles from the ’60s and ’70s, this DI-format pedal features four bands of EQ, two parametric mid bands, and high and low shelving filters.
$249 street
tech21nyc.com
OLD BLOOD NOISE ENDEAVORS
3-Band EQ + BufferThis simple 3-band EQ also serves as an always-on buffer, while the switchable EQ is beneficial for tailoring specific parts, guitar switches, or using as an always-on EQ.
$109 street
oldbloodnoise.com
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Hailing from the land of ice and snow, aka Rochester, New York, guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson dropped their mammoth-sounding debut, Orion, in 2016. The opening title track best exudes King Buffalo’s MO: darker Pink Floyd “Echoes” vibes with the eventual punishment of tectonic-shifting power of fellow power trio Sleep. KB may never go full doom, often subbing in hazier psychedelic strokes for monotonous monotone riffs, but they can still rumble with heaviest bands. “Goliath Pt. 1” and “Goliath Pt. 2” strongly showcase their Jekyll-and-Hyde stoner-rock tendencies that teeter between Floyd’s Live at Pompei and Black Sabbath’s Master of Reality.
With leftover Orion material, the band released an EP Repeater in early 2018. The 3-song collection would be a perfect soundtrack to a time-lapsed, mountain-climbing video. The expansive 13-minute opener starts calmly like any ascent, but as it continues, things begin to speed up, intensify, grow darker, before a crescendoing crash of celebration on the successful summit.
Later in 2018, the trio released their sophomore album, Longing to be the Mountain. The pace on LTBTM is much like the smooth cadence and perpetual hypnotic groove of hip-hop star NAS—it’s deliberate, powerful, and always bobbing forward. Space is much more prevalent than on Orion. Bookend bloomers “Morning Song” and “Eye of the Storm” exude the group’s blossoming confidence (and patience) providing air for suspense, tension, and timely, forceful apexes. With the added breathing room, the explosive parts build and powerfully bust through like a blues-tinged, psychedelic, kraut-rock-powered tsunami best felt in the doubled solos of “Quickening” and the thunder-cracking climax of the title track. (Full disclosure: I picked Longing to be the Mountain as one of my favorite albums of 2018. And time has only further solidified this vote.)
Before their headlining show at Nashville’s High Watt, guitarist/singer Sean McVay and his bass counterpart Dan Reynolds explain and demo how a couple of cheap, afterthought instruments paired with scaled-down boards create breakneck dynamics from Ms. Priss to monstrous.
D'Addario ProWinder:https://www.daddario.com/ProWinderRR
Strapped with a single guitar on this run, King Buffalo’s lone axeman Sean McVay hits the stage with this gold-sparkle Hagstrom D2F that’s been given a complete overhaul. It has new tuning machines, pots, knobs, and a set of Seymour Duncan SH-1 Vintage Blues 59 humbuckers. It gets strung up with a D’Addario NYXL Light Top/Heavy Bottom (.010–.052) set.
Sean McVay’s longtime partner in crime is this 1973 Fender Twin Reverb that required some TLC. For a wider-spectrum sound (plus the ability to mic two different speakers and have it panned hard left/right), he took out the stock 12" speakers and put in an Eminence Texas Heat and a Warehouse Guitar Speakers British Invasion ET65.
Admitting that on previous tours he had a pedal problem stretching over two boards, Sean McVay has downsized this manageable setup. He has a Vox V847 Wah, Moog EP-3 Expression Pedal, Build Your Own Clone E.S.V. Fuzz Silicon (BC109 chip transistors), Lightning Boy Audio Soul Drive, Analog Man Buffer, Whirlwind “Orange Box” Phaser, Strymon TimeLine, and TC Electronic Hall of Fame. A TC Electronic PolyTune keeps his Hagstrom in check.
Like his 6-string bandmate, bassist Dan Reynolds travels with one, budget-friendly instrument, but his is the way it left the factory. His lone road dog is a 2003 Sterling by Music Man StingRay Ray34. It gets DR Strings PB-45 Pure Blues .045–.105.
Originally an all-tube Ampeg dude, Dan Reynolds’ back enjoys the slight-but-mighty Bergantino Forté that shockingly puts out 800 watts.
Here is Dan Reynolds reduced pedal playground that only has the essentials, starting with the always-on Lightning Boy Audio NuVision that “makes up for the flat, digital-ness of the Forté.” The rest of his colors include Way Huge Electronics Green Rhino, smallsound/bigsound Team Awesome Fuzz Machine, TC Electronic Helix (unplugged), MXR Phase 90, and a Dunlop MC404 CAE Wah. A TC Electronic PolyTune 2 Mini keeps all four strings in the sweet spot.