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The SBEQ…much more than just an equalizer.

Runs at 9V-18V…
18V gives more headroom and clarity.

Product Description

The SBEQ is a clear, warm, tube-like, treble/bass booster. The EQ controls do go +/- and it is built in such a way that if pushed hard, it will distort
in a pleasant way much like an expensive tube EQ would. It also has an overall warming clarity that improves the fidelity of all distortions…
even non-BJFe-designed ones! ; ]



Reviews from TGP BearFoot FX Tourbox Participants 

1)  Tele, 335 through a Carr Sportsman

“Sea Blue EQ: LOVE this one! I’ve already purchased my own new… It basically just inserts some awesome into your signal chain wherever you place it. My favorite was after an OD, esp. the HBOD, and into an amp set for edge of breakup. I then ride my guitar volume to go between sweet cleans and crunch with many flavors of each thanks the SBEQ pushing and pulling as needed. It spans the functions of EQ tweaks, adding fatness and/or chime to your base tone, and subtle boosting of a ready and willing tube amp. Just a very soulful and musical tone shaping tool all without fundamentally altering the voice and feel of your rig. Very well done guys!”  (USA, April 2013)

2)  Mid-60s vintage Gibson Scout amp, which is basically clean all the time and a ‘69 Gretsch Streamliner with Super trons
two, my teaching studio rig: a Blackheart 5 watt amp and a parts vintage-style Fender Jaguar

“I’ll start off with the pedal I liked the most which was the SEA BLUE EQ. Really nice booster that was dead silent! In my gretsch rig it could get some nice, grindy tones similar to something one might hear out of a vox amp. The jaguar had more trouble getting a similar grind out of the sea blue but it still sounded marvelous and was a great booster…I could dial it in to be super duper transparent or add a bit of bass or treble where needed. Again, even with single coils the sea blue was very very quiet in terms of background noise. Calling this pedal an EQ is a bit of a misnomer IMO, should be labeled as a booster!”  (USA, May 2013)

3)  Goodsell Super 17, and played mostly a Tele with single coils, and also tried a Strat with DiMarzio areas. I switched between clean and gain settings on the amp.

“Sea Blue EQ:  This was my favorite of the pedals in this tourbox, I felt like it was the easiest to get a quick handle on and the controls were super intuitive. I don’t use an EQ pedal in my set-up, though I sometimes use a Timmy at the end of my dirt section and use that to EQ things. I kind of used this in the same manner, at the end of my chain to EQ the signal after running it through various dirt pedals. There was a lot of volume available, I had to set the volume somewhat low (was playing at home) and it still pushed my amp pretty hard and created some really nice saturated tones, in a natural sounding way, not like you’re using a pedal. I also tried it with no dirt pedals, and it almost seemed like you could use this as a low-gain OD if you set your amp up to where it’s starting to break up, this could push it harder and provide some great saturated tones. It added some fatness and width to chords and single notes. There was a lot of versatility and options in the tone control knobs. Really liked this pedal! Sounded great with both a clean amp and an amp set for breakup.”  (USA, May 2013)

4)  Carr Raleigh with a 12AY7 in V1 and a Vox Pathfinder (totally stock); guitar used was a Kauer Daylighter Jr with a Wolftone P-90

“SBEQ:  A pedal with a great combination of warmth and sparkle. It reminds me very much of the Antelope Morning Dew except that the Sea Blue might have a little more volume boost on tap. Silent and flexible in its tonality makes this a cool eq. I have owned both parametric and tilt eq’s back when I was taming the feedback on my archtops and found most be be kind of dry sounding – this is why I preferred the Antelope except they are both pricey and hard to find – this pedal will end that search and the volume boost pushed the Carr into drive tones easily – the Vox was on the edge which is a good place for a Vox to be I think.”  (USA, April 2013)



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