BAX EQ

Stock in every stereo since the 1950’s, for a good reason.

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The World’s Most Popular EQ

If you’ve ever adjusted the bass and treble on a hi-end stereo system, a boom box or even a car stereo, then you’ve used a Baxandall EQ. Originally designed by the now legendary electronics designer Peter Baxandall, these are the world’s most popular EQ curves for a good reason: they are able to improve the sound of anything you throw at them. The Dangerous BAX EQ is the first professional, stand-alone EQ to use the famous Baxandall curves, and our version – designed by our own legendary designer Chris Muth – has become an instant classic among mixing, mastering and tracking engineers. It’s so loved, in fact, that most are leaving it patched into their audio path full time where it sweetens and deepens all kinds of music…day in, day out, all year long.

Big Moves and Broad Strokes

At the heart of this stereo unit are gently sweeping treble and bass EQ shelves (the Baxandall Curves) that give you subtle yet profound control over wide sections of the frequency spectrum. The opposite of a surgical tool, the BAX EQ is all about sweetening sounds with broad, musical adjustments. Starting far below and above the human hearing limit, the broad and gentle EQ curves gently tug at the audible frequencies in ways that other EQs cannot. This unique design provides a distinctively sweet and open treble along with a powerful and three-dimensional low-end you simply can’t get out of other EQs.

The Paradox of Transparency

The bass and treble shelves found on most professional EQs introduce phase delay and other audible artifacts, sometimes called “color.” The BAX EQ’s shelves maintain phase coherence, and — because it is built from the same ultra-high-grade components we use in all our equipment — the BAX EQ does not change the characteristics of the original sound. This is the ineffable paradox of real analog transparency: you have the ability to make powerful changes without substantially altering the original sonic characteristics. Rather than adding more color, you’ll hear the original colors more beautifully, more openly and more powerfully, no matter how far you push it.

Sophisticated Filtering

Beyond the easy-to-use shelf controls, the BAX EQ is equipped with sophisticated filtering options that vastly expand its versatility. The cut filters on either end of the spectrum dial out unneeded frequencies that will be boosted at the far end of the shelves. On the low end, you can cut below 12 Hz, where headroom-eating, infrasonic rumble and DC-offset live. On the high end, you can dial out ultra-sonics like 70 kHz that can carry out-of-band noise that translates as harshness in many A/D converters. And when you start playing the cut filters against the shelves, a whole world of unique tone-shaping opens up within the audible frequency band – sounds you wont get anywhere else.

Effortless Results for Tracking, Mixing & Mastering

In a category all its own, the BAX EQ will compliment any studio configuration. Outstanding in a mastering rig, on a whole mix or in any tracking chain, the BAX EQ lets you effortlessly sweeten and deepen any music — like the best bass-treble controls you’ve ever used.

The Dangerous Philosophy Embodied

As with all of our products, the Bax EQ incorporates a sophisticated circuit design, uncompromising quality, and is elegantly straightforward to use.

Key Features

  • Unique Design Based on the bass-treble tone control EQ.
  • Ultra-high quality components.
  • Stepped controls throughout for accuracy and repeatability.
  • Broad Q-shelving for a natural, open transparent sound.
  • 7-position phase coherent high-pass and low-pass filters on relays.
  • 8-position high- and low-frequency selection.
  • 5dB cut and boost controls in 1/2dB step for precise control.

Frequency Response:
+- 0.1dB from 10Hz to 20kHz
+- 0.2dB from 1Hz to 80kHz

Maximum level:
>+28dBu

Noise floor:
<-92dBu band limited from 22Hz-22kHz

THD+N: 
<0.002%

IMD: 
<0.003%

Crosstalk rejection: 
>105dB

Replacement Fuses:
USA 500mA fast blow for 120V
Europe 250mA fast blow for 240V

Input Impedance: 
25K Ohms

Output Impedance: 
50 Ohms

Warranty: Free 2 year extended warranty with online registration.

Standard warranty: 90 days parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians.

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Testimonials

  • dave-kutch

    Dave Kutch

    Mastering Engineer

    The BAX EQ gave me a foot۪ like no other EQ I have does.۝

  • jonathan-wyner-client-thumb

    Jonathan Wyner

    Mastering Engineer

    “The thing that really sold me on the BAX EQ is the high pass filter. I haven’t found a plug-in high-pass filter that sounds nearly as smooth. I think that the BAX has a high-pass that sounds very transparent [and] there’s less phase shift.”

  • blank-client-testimonial

    Kevin Becka

    Engineer, Blackbird Studios

    “The BAX EQ takes us into the mastering realm – there has to be a little bit of a finish on your final mix, and the BAX EQ is a really simple and great-sounding way to do that.”

  • pete-evick-client-thumb

    Pete Evick

    Engineer

    “It feels more musical to me with everything running through it! I feel more creative.”

  • mike-wells1

    Mike Wells

    Mastering Engineer

    “The cutting filters are a fantastic addition on top of the cut and boost shelving filters. I use the BAX EQ every day, I can’t really say there isn’t any master that I make that doesn’t have the BAX on it now!”

  • Emily Lazar 2

    Emily Lazar

    Mastering Engineer

    “The BAX cut filters are a unique and an indispensable part of my corrective process. Rolling off specific low frequencies like 12 or 18Hz actually increases the low end of the final product.”

  • fab

    Fab Dupont

    Mix Engineer

    The BAX EQ is my new favorite box to put across my whole mix.۝

  • glenn-bucci-client-thumb

    Glenn Bucci

    Engineer, Revelation Sound Studios

    “After hearing the UAD BAX EQ I was amazed how great the unit sounds. It adjusts the signal without getting in the way. It offers a clear crystal sound without sounding sterile or boring. What it does is enhance the music is a wonderful way.”

  • george-seara-news

    George Seara

    Mix Engineer

    What I love about the BAX is its ability to sound punchy in the low end, without being muddy.”

  • mike-wells1

    Mike Wells

    Mastering Engineer

    “I got a BAX EQ right after it came out and it’s taken over as my go-to EQ. It’s almost always at the beginning of the chain unless I need to do something specific with it.”

  • john-scrip-client-thumb

    John Scrip

    MASSIVE Mastering

    “It’s very rare that a project doesn’t pass through the BAX EQ… So easy to tweak – It just kicks everything up a notch.”

  • fab

    Fab Dupont

    Mix Engineer

    I have never heard any EQ like this one before.۝

  • simon-li-client-thumb

    Simon Li

    Mixing/Mastering Engineer - nOiz

    “Very musical and super clean. The HPF is the best I۪ve used and it۪s an excellent tool for problem solving.”

  • Marc Einstmann

    Mastering Engineer

    “It’s especially effective in the low range. Just half a dB or a dB of boost really brings out the bottom out without making it sound muddy.”

  • colin-leonard-client-thumb

    Colin Leonard

    Mastering Engineer

    The Dangerous BAX, honestly, is one of my favorite EQs for real small adjustments and it has some really unique EQ curve shapes obviously.”

  • default-client-thumb

    John Butler

    Composer, Diamond Mine Music (Dr. Phil, Rachel Ray, etc.)

    “I love how while I’m tweaking the knobs I hardly hear the changes and then when I take it out, it’s like ‘wtf, my mix just shrank!’ “

  • john-paterno-client-thumb

    John Paterno

    Producer/Engineer

    “The BAX has been awesome as my drum overhead EQ on tracking dates. It enhances the sound of the whole kit, but it doesn’t sound processed – just clear and 3D.”

  • Emily Lazar 2

    Emily Lazar

    Mastering Engineer

    “I haven’t mastered a project without the BAX engaged since it’s purchase in 2012”

  • michael-james-client-thumb-2-2

    Michael James

    Producer/Mixer

    “Frequently I find that half a dB or 1 dB at the lowest shelf adds a little bit of warmth without making the bass tubby. Then up at the top-end on the BAX, you can go all the way down to the crack۪ of the snare drum or keep it way high at the top end and get more sparkle out of the cymbalsor anything in between.”

  • glenn-bucci-client-thumb

    Glenn Bucci

    Engineer, Revelation Sound Studios

    “Pure Magic! The BAX EQ was amazing in gently removing the low end 30Hz and below, adding a little more punch in the low’s at 84 Hz, and bringing the guitars and keyboard forward and a little fresher at 2.1 kHz and removing unwanted high end with using the filter at 28 kHz.”

  • rueven-client-thumb

    Reuven Amiel

    Mix Engineer

    “I loved the BAX instantly and for me it sounded better than my other EQ.۝

  • Emily Lazar 2

    Emily Lazar

    Mastering Engineer

    “When boosting the shelves, it simply makes the music feel better- bringing a coherency and cogency to an album.”

  • fab

    Fab Dupont

    Mix Engineer

    The super low-end of the BAX EQ is fat without being muddy and it۪s incredibly smooth and balanced.۝

  • Emily Lazar 2

    Emily Lazar

    Mastering Engineer

    “The shelving EQs just bring out the magic of the artist’s intentions, without stepping on the music.”

  • dave-kutch

    Dave Kutch

    Mastering Engineer

    It۪s no surprise that the first piece of signal processing from Dangerous is something that currently does not exist and something I need to have.۝

  • george-seara-news

    George Seara

    Mix Engineer

    “I put the BAX EQ on the money channel!۝

  • maor-appelbaum-client-thumb

    Maor Appelbaum

    Mastering Engineer

    “Great for making the tone more focused and tight in the low-end, while adding brightness to the high end without being brittle.”

  • Claude Zdanow

    Engineer, CEO and Found of Stadium Red

    “Stadium Red Engineer Ariel Borujow’s [mix] chain is: out to the 2-Bus LT, to an SSL compressor, then to the BAX EQ. He swears by it, he won۪t mix any other way.۝

  • chab-mastering-client-thumb

    Antoine “Chab” Chabert

    Mastering Engineer

    I also use the BAX EQ for cutting Vinyl records, I have one in my mastering room and one in my vinyl cutting room, it۪s really perfect for reshaping the music for vinyl,۝

  • f-reid-shippen-client-thumb

    F. Reid Shippen

    Mixing Engineer

    “The Bax EQ is an awesome piece of gear. I’ve been looking for years, maybe a decade, for an effective hi-pass filter that can take the infrasonic muck out of a mix, without destroying what’s going on in the bottom end. And the BAX EQ is the only one that I’ve ever found that can do that. Add a little bang back in, right in the kick drum area, like 74HZ, and it’s perfect. It’s killer.”

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