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Toole and why I like Tone Controls

In another thread I was pointed to a really excellent paper by Dr. Floyd Toole (he doesn't use the Dr. but it is well earned) on getting to neutral.

So I want to go back with a little history. In all of audio reproduction theater sound reproduction is among the most rigidly controlled areas of audio. From the needs of Dolby Surround playback, to introduction of acoustic decay requirements introduced by THX, and more, the attempt to deliver a uniform theater experience has been a subject of serious effort by many, and continues to be so.

That's in sharp contrast to consumer music.

So while this article focuses heavily on theater sound, it also touches on just how difficult it is for even theater sound experts to get to neutral. If they can't do it, imagine how hard it is for music!

And, yes, I'm going to hijack Dr. Toole's paper to plug tone controls. With all the guessing that goes on, not using tone controls, and not having great tone controls to use is folly.  Quote me. I said FOLLY!

http://www.aes.org/tmpFiles/elib/20200201/17839.pdf

Also, personal request, if anyone knows how I can get in touch with him and be a fan boy, please let me know. :) I'd love to hang with him, and it turns out he's a local.
erik_squires
noble100's avatar
noble100
2,419 posts
 
Hello elliotbnewcombjr,

     Let me get this straight, you make all of the adjustments you detailed on your last post every time you decide to enjoy some music?  
     You certainly don't make all of these fine tuning adjustments on every musical track you play, right?  I would think many tracks would be finished playing by the time you made all the fine tuning adjustments you describe.
     Do you play each track twice, once to fine tune all your settings and once again to enjoy the actual music?
     Have you ever considered the possibility that you enjoy making adjustments and fine tuning the controls more than you enjoy the music?

Thanks,
   Tim
erik_squires OP
16,416 posts
 
Further, I don’t really like the idea of fiddling with EQ per track.  That’s a more fidgety approach to music listening than I want to engage in


@prof - Absolutely true for me as well.

 Once my speakers are dialed in nicely I tend to enjoy pretty much everything played through them.


I tend to agree that neutral speakers have a much easier time playing anything you want through them, but I eventually found mine were a little too laid back, so I added a little bass, and at night if I'm wide awake I'll turn on the loudness so I can hear it all.

Best,

E
wolf_garcia
6,737 posts
 
I have 2 "tone control" options: Adjusting the levels of my subs (easy to do with the "chicken head" knobs I put on them) which I do rarely, and a Schiit Loki 4 band EQ also used rarely and when switched to bypass it disappears utterly. Neither has any discernible audible downside.
mijostyn's avatar
mijostyn
8,570 posts
 
I only switch to a different curves for recordings with problems. This is usually for cutting female voices or strings. I'll switch to the curve with the 3K notch filter which smooths things out nicely. Other wise I only get into it when there is a significant change in the system like new amps or re- positioning the speakers or a change in the room like a new sofa. Otherwise it is set it and forget it. 
It would be the rare, truly exceptional system and room that would not benefit from correction not to mention other things you can do in the digital domain like subwoofer cross overs and dynamic loudness compensation. 
cd318
2,636 posts
 
For me tone controls fall into the 'set and forget' category, along with as many other tweaks as possible. Of course back in the days of using Naim amps they weren't even an option and neither are they on my current Creek amp.
 
I still find the occasional need to tweak and set various equaliser options on TVs, MP3 players, phones etc, but if I ever find a wretchedly mastered favourite track I would rather adjust it manually via Audacity than have to keep reaching for the equaliser controls.

The last time I felt the need to this was a few years back whilst compiling a 'best of' Sex Pistols CD. Some of the tracks from The Great Rock and Roll Swindle especially sounded like they badly needed some air and whilst Audacity can't perform sonic miracles it can permanently add a hint of treble.


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