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

Showing 1 response by steakster

@almarg    DSP is the future. It is to audio what digital color correction is to photography. Tweaking whatever shade of tonality or color that best pleases your ears (or eyes). Many are familiar with Adobe Photoshop for still photography. DaVinci Resolve 15 is a Swiss Army knife for filmmakers. It’s an all digital workflow from editing - to color correction - to visual efx - to projection.

Back in the 1990’s, Hi Def camera manufacturers (Sony, Panasonic, etal) were trying to earn respect from Hollywood’s elite feature film cinematographers. No way! Kodak film was king! And it was analog. Now, just a few years later, Kodak is ancient history. Curiously, the primary disruptor was Jim Jannard, founder of Oakley sunglasses. Different companies are pitching their proprietary codec’s as the best, but they’re all digital. No doubt, HEA will soon follow. Lyngdorf appears to be doing a respectable job in applying it to room correction.