Peavey Studio Effects

The Peavey PV 215 EQ is stereo graphic equalizer that can be used for a variety of different uses. I've seen this being used for live shows or for DJs, but I've only used it in the recording studio. I'm generally a fan of parametric equalizers over graphic ones for use in the studio, as I find them to be more exacting and in general just more useful. This is one of the reasons that you'll see graphic equalizers like this being used for live sound when it might not need to be as exacting as in the studio. In the back of the PV 215 EQ there are connections for both channels' inputs and outputs as well as a simple ground switch. It is rack mountable and will take up just a single space. UTILIZATION The make up of the Peavey PV 215 EQ is generally easy to understand, even for those without much experience using equalizers. Each of the two channels has fifteen bands, ranging from 31.5 Hz to 16 kHz. Each also has a low cut/high pass filter that is set at 80 Hz. Each also has a in/out button and an overall output leveler. SOUND QUALITY The sound of the Peavey PV 215 EQ is nothing spectacular, but it will get the job done in most situations. After using it in a studio setting though, it really seems as if this would be best for live shows. It was fine for doing simple jobs, but if there isn't a fixed frequency band where you want it, you're out of luck. That's really just the nature of graphic equalizers, and most users will understand this going into looking at a graphic EQ. However, for what it says it does, it can do the job okay in the studio and most likely very adequately on the stage. OVERALL OPINION For a stereo graphic equalizer that is on the cheaper sound, the Peavey PV 215 EQ does the job well. It's very easy to use and there isn't anything complicated about it at all. While not the cleanest equalizer I've used, it is fine for equalizer in large bands. It wouldn't be my first recommend if you're looking for something in the studio, it's perfect for uses where you don't need to be exacting.