Toole and why I like Tone Controls

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. 

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.

A best of the Sex Pistols? They only had one album! 

noble1001

Setup ONCE, on, enjoy, at the ready:

1. remote balance tweak from listening position

2. remote volume from listening position

2a. Loudness Contour is automatically engaged by lowering the volume whereby bass boost is progressively engaged.

This, as noted, is misunderstood, and most often improperly setup, hence disliked, omitted, turned off. OK, but, low volume bass boost, done right, is natural sounding, retaining your involvement even at low volume listening.

...................

BALANCE:

ON: Default centered. Mostly not needed.

A track that might be improved? tweak a bit left (or right).  From your chair, instant results/evaluation. It is remarkable how everything can 'open up' with just a slight adjustment

Back to center

Maybe tomorrow, another track needs a slight fix.

A 'greatest hits' disc, compilation disc, various artists: i.e. 12 different recording environments, 12 artists/engineers, using ____? monitoring system, this is the most frequent use of remote balance tweak.

LOUDNESS

set it up once. then, for Loudness (low volume bass boost) it is automatic 
1. on, normal listening volume is default, no bass boost
2. remote volume
2a. up no bass boost
2b. down from default volume after a bit begins automatic bass boost

........................................

I like to adjust things? In the beginning, yes, then, when confident leave it alone. 

I will not be beaten by a machine. I read the entire manual, circles and arrows, dogeared pages.

Elderly here will remember the late 70's, VCR's, with the worst instruction books ever written. College graduates could not set the clock, thus worthless.

I learn every option, prove it all works within the return period. (These days I've already researched, no so before internet)

Then, initial period: evaluate any option that I might use or want to understand even if I don't think I will ever use it.

You might have noticed, I try to share/explain things for people who don't RTFM. I want them to get the best they can out of  .....

noble1001

yes, it can be: huh? tweak, better? a bit more?

then, go back, start that track or LP over, enjoy it like never before.

sometimes, after adjusting the 1st track, all the following tracks, LP or CD sound better than ever.

If you listen to a lot of small Jazz groups (or chamber music ...), imaging of the few specific instruments is a more frequent experience, you are pre-disposed to notice something poorly engineered, greatly engineered, or a tweak might improve ....

My friend loaned me an Oscar Peterson Trio, Live (I have a lot of Oscar). It was so weirdly engineered I still cannot believe it.

Drums Left, Piano Center, Bass Right, should be terrific as most of OPT are, but:

Piano high freqencies out of left speaker; low notes from right speaker; and, during a Drum solo, the engineer moves the drummer to center, leaving brush work left, and the kick drum right. 

I was going to turn it off, when I decided, I'll go to the far corner of the room, listen from there, get away from potential for imaging. Man those guys sure can play!