![]() The two that you will encounter in pedal format are graphic and parametric. On the pure EQ side of things, there's two main considerations to factor in. Once you've decided on what preamp features you want, it's time to consider the EQ part. Since the distinction between preamp and boost pedal is also blurry, the tone and timbre of the preamp, and whether it can cross over into overdrive might also be a factor in your decision. For example, whether it is discrete, transistor, (J)FET or op-amp, and how much gain is on tap. Including preamps adds additional variables you might want to consider. This means that the distinction between an EQ pedal and a preamp is a little fuzzy to begin with.įor the purposes of this guide, we'll cover some preamps that also feature a powerful EQ. Moreover, any EQ that has active bands has to contain amplifier stages, and usually a master volume. As a result, many EQ pedals are an EQ and a preamp in one. Find out more about how we test.ĭespite being a very useful category of effect, the reality is that many players aren't prepared to open their wallet for just an EQ. You can trust Guitar World Our expert reviewers spend hours testing and comparing guitar products so you can choose the best for you. Read our full Hamstead Soundworks Zenith Amplitude review In this case, it allows you to place the EQ before, after, or in parallel with the compression circuit for added flexibility. While it might not replace a dedicated compressor pedal in some rigs, for most players, it's intuitive enough and sounds good enough to be an 'always on' tone shaping tool.įinally, there's also a circuit order control, like that found on other Hamstead pedals. The compression knob simply controls the amount of compression, while the blend control allows you to mix the wet and dry. Hamstead took an opinionated approach to the compression, as it's fixed, with a fast attack and medium decay. There's a three-way switch for Q, and a frequency selector that spans from low mids (500Hz) to more conventional mid frequencies (800Hz and 1.2kHz). The middle control has additional controls to help it gel with other pedals. The amp-like 3-band EQ controls are active, but have a relatively restrained boost and cut range. ![]() The boost has up to 20dB of transparent gain on tap, but the EQ is a bit more subtle. The Zenith combines a boost, EQ and compression into a full-featured preamp option. Limited control over compressor parameters Moreover, it has the depth to be a useful studio tool as well, for either guitar, bass or synths. You'll never need to buy another EQ again.īecause of the control you have over the Q of the three main bands, this pedal can be subtle in terms of the EQ moves available. However, once you're spending that kind of money on an EQ, there's value in having the additional filters. The non-deluxe version of the ParaEQ ships without the HP/LP and shelving filters. The ParaEQ will allow you to have this kind of control live, in a pedal format with high headroom. Parametric EQ is very common in studio applications, with the most common set of EQ moves for a guitar being to apply two or three parametric bands as well as high pass and low pass filters. This means, at least in terms of gain, you're effectively getting a two-channel preamp. It even has a boost on a second footswitch. Despite being small enough to fit on most pedalboards, it has three parametric bands, a high pass and low pass filter, and two shelving filters for high and low frequencies. Simply put, there is no alternative to the Empress Para EQ in a compact format. The fuzz is also switchable from from an 'open' to a 'gated' bias setting.ĭid we mention it has motorized sliders? Oh, well, it does, and they're really cool. ![]() Chase Bliss rounded off the Preamp with the ability to deliver full blown fuzz, with silicon and asymmetric germanium diode clipping available. While it's got enough gain on tap to kick a guitar amp into saturation, that wasn't quite enough. It's got volume and gain sliders too, for level control. Not only that, but the mid frequency itself is fully variable, controlled by a dedicated slider. Consequently there's three different mids resonance options and a variable Q control. This preamp design is then married to an EQ based on the semi-parametric design found on Chase Bliss' Condor pedal. It takes its inspiration from Benson Amps' excellent Chimera preamp - a version of their 30W Chimera amp, with the tubes replaced by FETs. It's a collaboration between Chase Bliss and Benson Amps, so comes with an impressive pedigree. The Automatone is the pinnacle not only of boutique EQ options, but also of preamps more generally.
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