Back in the day I couldn’t wait to bypass the tone controls on my Dynaco Pas 3x. All the cool people did it (yes, it did sound better on most records).
I use equalization extensively with my pro audio gear (API 5500 for analog, but there are excellent digital solutions too; the DBX DriveRack units are ubiquitous. The EQ in my Bose ToneMatch engine that I use for small gigs is excellent). You have to adapt to a room quickly. Graphic EQs for quick adjustments, and parametric for dealing with comb filtering and feedback.
I guess the assumption is the EQ is set while recording and during mastering. The results are ostensibly as good as possible, but they are always a compromise. The record companies have to master their records so they sound good on a car stereo, earbuds, or a bluetooth speaker. Some companies will master for us HiFi nuts, but you have to seek them out (I could go on about MQA - makes me wonder if the motivation is to appeal to the 1% audio enthusiasts or to sell new product, but I digress...).
I think I’m going to try the Schiit Loki. Might be fun!
I use equalization extensively with my pro audio gear (API 5500 for analog, but there are excellent digital solutions too; the DBX DriveRack units are ubiquitous. The EQ in my Bose ToneMatch engine that I use for small gigs is excellent). You have to adapt to a room quickly. Graphic EQs for quick adjustments, and parametric for dealing with comb filtering and feedback.
I guess the assumption is the EQ is set while recording and during mastering. The results are ostensibly as good as possible, but they are always a compromise. The record companies have to master their records so they sound good on a car stereo, earbuds, or a bluetooth speaker. Some companies will master for us HiFi nuts, but you have to seek them out (I could go on about MQA - makes me wonder if the motivation is to appeal to the 1% audio enthusiasts or to sell new product, but I digress...).
I think I’m going to try the Schiit Loki. Might be fun!