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We give up perspective to avoid tone controls

Hi Everyone,

While most of my thread starters are meant to be fun, I realize this one is downright provocative, so I'm going to try extra hard to be civil. 

One thing that is implicit in the culture of "high end audio" is the disdain for any sort of electronic equalization. The culture disdains the use of anything other than a volume control. Instead we attempt to change everything to avoid this. Speakers, speaker cables, amplifiers, and power cords. We'll shovel tens of thousands of dollars of gear in and out of our listening room to avoid them. 

Some audiophiles even disdain any room acoustic treatments. I heard one brag, after saying he would never buy room treatments: "I will buy a house or not based on how good the living room is going to sound." 

What's weird to me, is how much equalization is done in the mastering studio, how different pro speakers may sound from what you have in your listening room, and how much EQ happens within the speakers themselves. The RIAA circuits in all phono preamps IS a complicated three state EQ, we're OK with that, but not tone controls? 

What attracts us to this mind set? Why must we hold ourselves to this kind of standard? 

Best,


E
erik_squires
bstbomber's avatar
bstbomber
40 posts
 
I believe it is all personal Taste.
Our ears are as individual as we are.
Everyone is different.
What you like the sound of i may not etc.
Also a big factor is your Audio Knowledge and experience.
A well seasoned recording studio engineer would pick out stuff that we would not even think of.
A lot of factors to consider.
One is Volume.
What your listening to another.
Your systems EQ changes with volume.
Read about The Fletcher /Munson Equal loudness curves.

vintage_heath
10 posts
 

I admit I have a less than purist attitude when it comes to tone control. I have different audio setups in different rooms. Different turntables, cartridges, tape decks, speakers, pre-amps, amps, etc. Tube and solid state. Depending on the source material, volume level and which equipment set is being utilized, I use different tone control settings. I will openly admit I process the heck out of everything, all the time, on every system, without exception. Dynamic range expansion, variable notch filter noise reduction, reverb, graphic equalizer, along with all the preamp tone controls, use of loudness contour, etc. You name it, I use it to get the sound I desire. In some cases, I mix the use of tube equipment and solid state equipment in the signal path. The sole purpose is to get what sounds good to my ears based on the system in use. It doesn’t matter what the artist, recording engineer or anyone else wanted at the time of recording or during playback. Once that recording enters my house, it’s my rules and those of no one else. When I go to live concerts, that’s when the artist and sound engineer gets to demonstrate what their vision is. Of course, if I could process that in real time before it reached my ears, I would probably make some tweaks! :-)


oranfoster's avatar
oranfoster
72 posts
 
Hey Vintage Heath, good for you. I like your keep-it-fun attitude! 
handymann
298 posts
 
When first starting out in what may be considered higher end equipment, I was told EQ is a four letter word. After years of incorporating different room treatments and still having issues with too much mid bass, I decided to try a Samson S curve 231. It's helped tremendously. I know it's best to have as little equipment in the signal path as possible, but for me, it's really helped. 
vtvmtodvm
49 posts
 
After 5+ decades of heavy DIY audio experience, I conclude that conventionally implemented (preamp) tone controls introduce too many inaccuracies to prove generally acceptable. Virtually all such circuits cause significant channel tracking imbalance, and some add other phase and distortion anomalies that seriously degrade any aural benefit.

In those cases (like mine) where the primary objective is to implement convenient variable control of the low bass-to-main speaker balance, there's a better/cleaner way: Add a pair of (sealed, not ported*) self-powered subwoofers. Operate them in "bypass mode" (internal low-pass filters deactivated), and control them through an EXTERNAL active crossover (Linkwitz-Riley, 4th order) control unit, e.g. Marchand's XM66. Fully variable control of the crossover point AND the main/bass input level is then available at a convenient single, central location. This makes it easy to set/reset your desired main speakers-to-subwoofers output ratio, using accurate plus/minus 1dB stepped attenuator front panel level control switches. It's an easy, elegant, and very accurate way to control the relative low bass-to-main speaker acoustic blend—and you can alter or restore a desired mix with optimum convenience.

*Sealed-subs can be more accurately phase-matched with your main speakers than when using ported subs. It's also helpful to use sealed (not ported) main speakers.
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