@tlcocks wrote:
Wrong. A great analog studio EQ can and does add its own special color sauce if you will which can be all improvements, no drawbacks.
"Special color sauce" pretty much tells it like it is, and whether such a flavor is a benefit is obviously system dependent, a matter of synergy or personal taste instead of being a desirable trait or character sought in every case and system context. If it works for you (and others), great. I know how much work has gotten finding into a proper tonal balance in my setup, and suddenly introducing a component with a distinct sonic flavor of its own would tip that balance and likely necessitate a re-tweaking in several areas.
Which is also to say: you may need an analog-based studio mixer to provide the sonic juice to make things fall into place for your ears; others - preference and all in mind - can make it happen via other means.
That’s obvious to sound engineers.
To them these consoles are a necessity in the first place, and where they can will get the best. I take it they're mostly digital by now for a number of reasons, though analog mixers are no doubt easier/more intuitive to use.
Ive yet to hear DSP as room correction, as speaker timing corrective, or as crossover function. I have only tried some tone curves with Roon and Auralic DSP among others similar to that. And Neutron media player. All digital parametric. But just bass and treble custom tone curves. Not all the above.
And again, lots of factors can be at play here for whatever sonic impressions you may have had with these setups and their different tone curve implementations that isn't necessarily reflective on the use of DSP itself.
As I mused on this previously, I will muse on it again. I wonder what it would be like to optimize the room first, then do room and speaker timing correction with DSP. Then lastly have an analog piece that is great sounding for bass and treble shaping which has hardwire bypass for full circuitry bypass when not needed.
Optimizing acoustics and speaker placement is always an important and necessary outset. As for digital room in both the amplitude and time domain, try it out (the DRC FIR software comes recommended, and works well via Convolution in JRiver, though I don't currently use it). Myself I have no passive crossovers between the amps and speakers to mess up proper interfacing between them, so having crossover duties done actively prior to amplification on signal level with a quality DSP and direct connection between dedicated amp channels to their respective driver sections is a very transparent/sonically benign way that leaves vital sonic parameters to be intricately worked out here. As for your idea with analog-based tone curving to top it all out - well, why not? You only get the wiser with experience. I'd opt for less layers in the signal chain presently with only a digital crossover that handles it all, i.e.: sans digital room correction and passive crossovers.
it’s important not to conflate bass and treble tone shaping EQ with room correction.
No arguing here.
The former is better sounding (by far) with analog. The latter is only properly executed with DSP, with its minute amplitude options and infinite possibilities with narrow notch filtering
On this we don't agree however. It depends on the implementation and DSP device.
