Not meant as a criticism, but it seems a little more complicated than necessary to me, and at the same time insufficient in some ways. Your FET input stage provides all the buffering needed, and a second one is overkill. What the input stage needs to do, though, is provide some gain to offset the passive loss of the tone control. Keep in mind the BMP-style tone control works by bleeding signal to ground at both the high end and low end, and what comes out the wiper of the tone pot is what's left. That's why the BMP needs a gain recovery section after it to be able to output something hot enough to achieve noticeable boost and produce additional overload in subsequent sections.
So, what you need here is a hotter input stage that gives 9db or more of gain. Then, what comes off the wiper of the tone pot can simply be fed to the 47nf cap and the volume pot directly.
Alternatively, the 386 provides a number of ways to get boost at the top and bottom ends, and these may well be more of what you want. Keep in mind that the BMP tone control is really more oriented at "revoicing" a fuzz, then EQ in the classic sense of compensating for speaker or signal source. That MAY be what you intended...but maybe not.
There is a feedback loop between pins 5 and 1 that can be exploited for bass boost, and the more familiar feedback loop between pins 8 and 1 can be modified to use different capacitor/resistor feedback combinations in parallel (just like the Rat) to yield differential gain for different frequency ranges. I was tuned onto this a couple years ago by a Nuts & Volts article/project that used much smaller value caps than 10uf to provide a big boost in the upper treble. The project was a pair of powered extension speakers that older people with high-end hearing loss could plug into the earphone jack of their TV and park beside them on the couch/sofa. By sticking a smaller than normal cap in that loop, the higher gain that comes from having a low-impedance path in the 8->1 path was applied only to high end, with more modest gain applied to the rest of the spectrum.
Another thing to consider is the use of a "bright" cap on the volume control so that top-end is preserved as you turn down.
But again, all of this assumes your goal for the tone control is to provide compensatory sonic adjustment, rather than tonal overhaul.