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:

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



Crosstalk rejection: 

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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Check out our BAX EQ Reviews HERE


  • Glenn Schick

    Mastering Engineer

    “I love the BAX EQ! It’s the cleanest and most musical piece of gear that I own!”

  • Reuven Amiel

    Mix Engineer

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

  • 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!'”

  • Maor Appelbaum

    Mastering Engineer

    “The BAX EQ is one of the cleanest analog EQ’s I have heard to date… So clean that with no boost or cut it sounds just like hard bypass.”

  • Mackenold Jean Louis

    Composer, Artist Songwriter and Mix Engineer

    “As an owner of the 2-BUS, BAX EQ, the MONITOR ST and the DAC-ST I have to admit my mixing has more depth, very clean and more headroom than I infrequently get ; most importantly it feels as if my mixings are done from a $2 million console. I am quite content with my work these days. I am a huge fan of the Dangerous’s gear, every piece is well thought of sonically and well physically design.”

  • Simon Li

    Mixing/Mastering Engineer - nOiz

    “Very musical and super clean. The HPF is the best I’ve used and it’s an excellent tool for problem solving.”

  • Pete Evick


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

  • 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.”

  • John Paterno


    “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.”

  • 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.”

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