Behringer EQ700 Graphic Equalizer 7-Band EQ Pedal

OVERVIEW 

 

Get total control over your tone and put the brakes on annoying feedback, no matter what the performance situation.

Finding it hard to get the perfect sound from your guitar? Maybe your guitar gets lost in the mix? Do you have major feedback issues with your acoustic? The problem's not your guitar-you need an equalizer! You can instantly improve the sound of your guitar with a little help from the EQ700.

Most performers don't have a clue about what good equalization can do for their sound. Maybe you've heard the old maxim, "Make a sine-wave to get really good sound," or "Make a smiley-face, that always works." Sadly, this qualifies as advice from the uninformed. Just as every room is unique, so is every musical instrument. Even guitars made by the same manufacturer, using the same materials, on the same day can vary a great deal.

People provide a good example of this principal-although we are all similar, we don't all wear the same size shoes, or even have the same color eyes. There is no one "perfect" equalization curve that fits every scenario; equalization is dynamic.

Most acoustic and electric guitar energy lies between 100 Hz and 6.4 kHz. Even slight changes in this range can cause a tremendous variation in overall energy and impact, as the human ear is especially sensitive to this range.

Boosting frequencies around 200 Hz - 400 Hz often provides warmth and body, while boosting frequencies in the 3.2 kHz - 6.4 kHz range adds clarity to clean guitar signals. Depending on the amount of distortion, this same range can ruin the sound of an overdriven electric guitar by adding harsh harmonics.

One of the most common mistakes is adding too much bass to acoustic guitars. If the low frequencies are boosted excessively, acoustics can easily get lost in the overall mix. Most acoustic guitars are also prone to feedback in the 200 Hz - 400 Hz range.

A general rule of thumb-the best results are often achieved by finding and reducing the frequency bands that are offending, and then turning up the overall volume, rather than boosting one specific band.

How the specific frequency bands of the EQ700 can shape your sound:
100 Hz (low bass)
Boost: To add fullness to guitars, especially clean electrics
Cut: To reduce muddy or boomy tone and control acoustic guitar feedback
200 Hz (soft bass)
Boost: To increase the warmth of all guitars and provide a slightly harder sound
Cut: To increase clarity and reduce feedback in acoustic guitars
400 Hz (hard bass)
Boost: To add definition to rhythm parts
Cut: To reduce feedback in acoustic guitars (This is a major feedback zone for piezo-equipped flattops)
800 Hz
Boost: To add an aggressive edge to the overall sound
Cut: For reducing the nasal or horn-like content, often referred to as the "cheap guitar" syndrome
1.6 kHz
Boost: To make the guitar cut through the mix. Creates a more distinctive plucked tone
Cut: To eliminate dullness and competition with vocals (vocal fundamentals occupy the range from about 1.0 kHz - 2.5 kHz)
3.2 kHz
Boost: To add significant attack to all guitars. Creates an even more distinctive plucked tone
Cut: To eliminate harshness
6.4 kHz
Boost: To add edge and increase brightness to all guitars
Cut: To soften thin-sounding guitars and remove string squeak

 

Fonte: https://www.musiciansfriend.com/amplifiers-effects/behringer-eq700-graphic-equalizer-7-band-eq-pedal

Jack White

Brian May

Mike Mccready

The Edge

Tom Morello

Hendrix

SRV

Dan Auerback

Clapton

Paul Gilbert

Joe Bonamassa

Dan Auerbach

Detalhes: http://equipboard.com/pros/dan-auerbach/#amplifiers

Interview: Guitarist Dan Auerbach

Interview: Guitarist Dan Auerbach Discusses Gear, Influences and the Latest Black Keys Album, 'El Camino'

Posted 03/13/2012 by Guitar World Staff

His Nashville studio is full of sweet vintage gear, but Dan Auerbach isn't just a retro-obsessed guitar hound. The Black Keys guitarist gets his motor running for an in-depth discussion about his group's latest album, El Camino.
“I’m not too picky about guitars,” says Dan Auerbach, who’s known for manhandling a motley assortment of electric instruments with brand names like Teisco Del Ray, Harmony, Supro, Silvertone and National onstage with the Black Keys.

“I love to collect them, mostly oddballs, but I’m not married to any brand or model. Whatever guitar has the best character for the song is the one I want to use, because if you’ve got a style, you’re going to sound like yourself no matter what guitar you play.”
Thus, while it might seem out of character for Auerbach to use a 1953 Les Paul as his go-to six-string for the Black Keys’ new El Camino, the album still sounds like classic Keys. It’s driving, melodic, brash and bristling with unbridled rock and roll energy.
Actually, it’s even more “classic” than usual, weaving in a vocabulary of rock filigrees from the Fifties and Sixties -- from handclaps and vocal harmonies to swirling Leslie speakers, big melodies and even bigger hooks. The result is a garagepop masterpiece that’s likely to ratchet Auerbach and his drumming compadre Patrick Carney a few steps closer to rock’s Olympus.
However, Auerbach is picky -- and proud and protective -- about his new Easy Eye Studio in the band’s recently adopted hometown, Nashville, Tennessee. It’s where he and Carney produced El Camino with Brian Burton, the musical auteur who goes by the name Danger Mouse. Burton helmed the Black Keys’ 2008 sonic breakthrough, Attack & Release, and the single “Tighten Up” on 2010’s commercial door buster Brothers.
“We don’t know any other producer we’d like to work with,” Auerbach explains, sitting on a worn brown leatherette sofa in Easy Eye, a comfortable, big black box just outside of downtown. Immediately to his right is a towering Moog modular synthesizer topped with a photo of a dapper, pomaded Muddy Waters from his days as a Chess Records artist.
And within the surrounding 20 feet are many of the keys to his sonic kingdom: a recording console from the Sixties, a rack of well-worn guitars, amps with tattered grills, a Vako Orchestron (an early sample player that played back sound recorded on optical discs), a vintage Scully eight-track tape machine ... and the list goes on.
It’s gear that Auerbach has been collecting since before the Black Keys recorded their 2002 debut, The Big Come Up, in Carney’s basement back in Akron, Ohio, under the influence of dirty three-chord rock and the haunting psychedelic echoes of North Mississippi trance bluesmen Junior Kimbrough and R.L. Burnside, artists who still remain the cornerstones of the Black Keys’ music.
“Having a place that’s tailor-made for you is a real luxury,” Auerbach says. “Everything here works. These keyboards ... all you need to do is pull up a fader on the console to start recording. You see a lot of studio websites and think they’ve got cool shit. Then when you show up, half of it’s not working. If it doesn’t work in my studio, it doesn’t stay on the floor.”
Despite his retro passions, Auerbach also believes in evolution. El Camino was recorded on Easy Eye’s Pro Tools rig, and there’s a pitch-shifted yelping in its first single, the riffpumped “Lonely Boy.” So that’s where our conversation begins.
GUITAR WORLD: Listening to the Black Keys’ seven albums in sequence, it’s striking to see your evolution from chord cruncher to sonic explorer. Where did it all begin?
I started playing bluegrass with my family, so there were the G, C and D chords. I was playing a Martin acoustic because that’s what Carter Stanley of the Stanley Brothers played. Then I got into the really raw blues of Hound Dog Taylor and started on electric guitar.
My mom bought me a white Strat, but that wasn’t what I wanted, so I went to a guitar store in Cleveland and -- the guy told me it was a really good deal -- made an even swap for a blue Teisco Del Ray. I loved that guitar and used it a bunch. I got into open D tuning, like Hound Dog. Since then I’ve gotten into other people’s styles, but I’ve never tried to master them.
Despite your bluegrass roots, you seem more interested in sound and texture than notes.
Definitely. That’s something I got from Junior Kimbrough. Junior changed everything for me. When I heard his album All Night Long, I dropped out of college and started playing seriously. His shit is weird North Mississippi dance music. He came up with his own style, influenced by local folks. He had the bravery to try something different.
Speaking of something different, the wideopen sound of Attack & Release seemed to radically expand your universe as a guitarist. Did working with Brian Burton and Marc Ribot help open you up?
I was inspired by a lot of Turkish, Japanese and South American psychedelic records at the time. They turn the guitar into a canvas that you can put sounds on top of, instead of using it as a lead instrument. Now I try to incorporate that into whatever I’m doing. Patrick and I learned from Brian, but he learned from us too.
We brought a lot of the same music -- like hip-hop, psychedelia and Ennio Morricone -- to the sessions for inspiration. We have fun when we work together, and we are competitive, so we’re always trying to one-up each other with cool music that we’re into and wild ideas in the studio. And Marc is one of my all-time favorites.
The first thing Ribot started doing when he began recording guitar solos was scraping the strings with his car keys. He was almost frothing at the mouth sitting in his chair playing his guitar overdubs. I first heard him on his Los Cubanos Postizos album. [Ribot’s homage to Cuban composer Arsenio Rodriguez, who played the tres, a Cuban guitar.] I’ve never tried to play along to a Jimi Hendrix or Cream record. That was the first album I played along to. [He sings a Latin-sounding guitar phrase.] That shit is so amazing. Then I got one of Rodriguez’s albums and got into the tres, which sounds like Big Joe Williams’ homemade nine-string guitar. I love that weird shit.

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After expanding the Black Keys’ sound so much on Attack & Release and Brothers, why go back to the roots of classic American pop-rock for El Camino?Patrick and Brian and I were listening a lot to the Clash, Jonathan Richman, the Cars and the Johnny Burnette trio -- music from different decades that was all influenced by Fifties rock and roll. We got inspired by it and went into the studio with absolutely nothing. We hadn’t rehearsed; there were no demos and no lyrics except for “Little Black Submarines,” which Brian and I had written.
We’d never done it like this before. We also wanted to make an album that would translate to the stage. Brothers was very difficult to play live because it had a lot of open spaces. We added a bass player and keyboard player for touring, which I love, because otherwise the songs felt compromised, which bummed me out. When we went into the studio for Brothers I’d written the lyrics, the chord changes and all the verses and choruses. We just had to work on grooves so the music fit the lyrics. This time all the music was done first.
When I recorded my solo album, Keep It Hid, in 2008 I’d gotten more interested in songwriting, inspired by reading Charles Bukowski and connecting with unfancy, interesting language. But El Camino is focused on melody and groove. A lot of the lyrics are absolute throwaways, but you want to sing along because the melody is so strong. Next time I’ll try to make the lyrics as memorable as the melodies. The bottom line is that, for us, the groove has always been king. And I have to keep my eyes and ears open because Patrick fluctuates in tempo a lot. That’s how we play live, and you can hear it on the records. Pat never plays a normal drumbeat, which is why he’s so awesome.
There’s a pitch shifter on “Lonely Boy,” a talk box on “Money Maker” and vibrato and wahwah effects elsewhere. How important are stomp boxes to you?
My core tone just comes from my amps. For El Camino, I used a Magnatone and an Ampeg V-92 with a JBL D-130 speaker. I blew the speaker, and in three or four songs you can hear it rattle, like at the beginning of “Lonely Boy.” I use fuzz pedals, but I’ve never used a distortion or overdrive pedal -- just boost pedals. The Shin-ei Companion Fuzz and the Marshall Supa Fuzz are my favorites. Before the sessions, Dunlop sent me a box full of effects, including a talk box.
I was listening to Pete Drake a bunch. He was a pedal steel player from Nashville who invented the talk box. He has this song called “Forever” that’s amazing. So Pat and I tried to set it up and it wouldn’t work. “How does this work? How do you plug this in?” Then our engineer said, “It goes like this, dumbasses,” and just plugged it in, and we started playing with it, laughing the whole time. I cut the solo in two takes, and then I put it in a box and haven’t seen it since. I like pedals, but they have to be easy. I want instant gratification.
Did you use any workhorse guitars for El Camino?
I got a ’53 Les Paul while I was on tour. It looks like it was attacked by a shark. I used that a bunch, plus a Danelectro and an early Harmony Stratotone. I had the Stratotone before the Black Keys, and I’ve used it on every one of our albums. When Ribot walked into the studio for Attack & Release, he brought a Tele and one of those.
How has your growth as a singer -- even to the point of having a beautiful falsetto on “Stop Stop” -- brought depth to the Black Keys’ sound?
My voice is like my guitar playing. I listen to records, like Curtis Mayfield’s and Marvin Gaye’s, and get inspired. I’ve always sung falsetto and sang the high harmonies playing bluegrass with my family. But I never thought to do it as a lead vocal on a Black Keys album until Brothers, and I loved it. You have to build your confidence to sing lead in a high register. Put that kind of vocal up against really fuzzy guitars and you get a really interesting contrast. There’s always got to be contrast. If the guitar is fuzzy, the bass is going to be clean; if the bass is fuzzy, the guitar is going to be clean. I like to focus on that kind of stuff. That comes from owning a studio and being able to mess around while making records. You start to understand how elements are going to work in a mix.
There’s a lot of sweet gear in Easy Eye, from analog synths to vintage board modules to stacks of amps and guitars covering nearly every inch of the place. Did you have all of this in your home studio in Akron?
All of this stuff was at my house. [laughs] It’s not healthy to have your workplace be your home. I am obsessive and would never leave. If I leave here, I’m gone.
Is Easy Eye a commercial enterprise?
Well, I have other bands that I know and like and can trust with all my stuff. Most of it’s irreplaceable if it’s broken, so I can’t just let anybody in. I have a couple engineers I work with now, so if a band I like wants to use the studio I can let them come do that. I just produced a Dr. John album. I assembled the band, and we were here 10 days. We cut everything live. It was so fucking cool.
I did albums here with the Growlers and the Reigning Sound. I just finished working with Hacienda and mixed a record for a guy from Cincinnati named Brian Olive. We’ve been doing some super-cool stuff. You get to be around these people and feed off their energy. I’ve made a lot of records with different people, and every time I’ve learned something, and I bring it to the table when we make a Black Keys record.
Photo: Joseph Anthony Baker

Fonte: http://www.guitarworld.com/interview-guitarist-dan-auerbach-discusses-gear-influences-and-latest-black-keys-album-el-camino

The Black Keys - Dan Auerbach Guitar Gear Rig

The Black Keys - Dan Auerbach Guitar Gear Rig

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Dan Auerbach is the guitarist and vocalist for the Black Keys, a blues/rock group from Akron, Ohio. He also was in the 3 piece band "The Barnburners".

Dan has a ton of gear in his arsenal and often switches up what he uses. Below you'll find one of the better listings of what he has. Let's see what type of gear and equipment is in the Black Key's guitar player's rig.

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Click the gear images for more info and specs at Guitar Center

Guitars
Note: Dan is into a lot of guitars that are no longer made.
- Gibson Firebird VII
- Fender Jerry Donahue Telecaster w/ DiMarzio twin-blade humbuckers
- Teisco Del Ray guitars (as seen in the video for 10 a.m. automatic)
- white 70s Ibanez lawsuit SG with maestro tremolo, used on the Magic Potion tour
- Ibanez lawsuit red Flying V
- Silvertone 1454, and also a Harmony H77 or H78, both three pickup models from the late 60's
- Harmony Stratotone H47 (Lindy Fralin P-90 pickups)
- Gibson Les Paul Standard with Bigsby
- Eastwood airline tuxedo
- Danelectro '56 reissue
- Supro Martinique (white, DeArmond single coils)
- Harmony Heathkit TG-46
- '64 Guild Thunderbird



Amps and Cabinets
- Fender Twin Reverb amps

- Marshall JTM-45 (reissue)

- Marshall 1959HW

- Marshall cabinets (4x12 slant cab and 8x10 cabs)


- Ampeg B12XT 2x12 combo amp
- Hiwatt head (not sure exact model)
- Fender Blues Junior

- Magnatone with 10 inch speaker
- Fender Musicmaster bass amp
- Fender Quad Reverb (live)
- Victoria Dual Deluxe amp (with Eminence Red Coat speakers)


Effects
Note: Dan has claimed he has over a 100 pedals.
- Analogman Sunface
- Analogman TR-2
- Arion analog delay
- Boss RV reverb

- Boss TR-2 Tremolo

- Boss Chromatic Tuner pedal

- Demeter tremulator
- EarthQuaker Devices Hoof Fuzz
- Electro-Harmonix Deluxe Memory Man

- foxx tone machine
- Fulltone SoulBender (Fulltone discontinued pedal in 07)
- Fulltone Tube Tape Echo

- Rehoused Jordan Bosstone
- Line 6 Tonecore Echo Park

- Maestro MFZ Fuzz-tone
- Electro-Harmonix Sovtek Russian Big Muff (his is the green one)

- Solasound Tonebender
- Z.vex Octane

- Ibanez Standard fuzz pedal (two sliders)
- 60's Shin-ei fuzz pedal
- Palmer PDI-03 speaker simulator
- RJM Effects Gizmo and two Mastermind controllers
- Boss OC-2 Super Octave

- Boss PH-3 Phase Shifter

- Radial JX-2 Switchbone

- MXR 10 Band EQ

- Mission EP-1 Expression Pedal
- Sound Sculpture Volcano volume control
- Boss PS-5 Super Shifter

Strings, Picks, and Cable
- SIT .011 - .050 gauge strings

- He created custom sets from various manufacturers in the past, gauges  .011, .015, .020, .030, .039, and .049
- Fingerpicks on his index finger
- Divine Noise curly cable
- curly Bullet Cables