Equalizer in a Hi Fi system

@deep_333 
It is true that every recording has been equalized out the wazoo.

However, your audio system should have reached the point where you not only hear the audio engineer's decisions from one recording to the next, but sometimes even the equipment he or she used (I have a jazz musician/composer friend who amazes me with his ability to identify the microphones used), to the point where you might say either "Wow" or "Why did they do that?" Either way, it sounds "accurate", as in, what was heard in the studio, even if it is not a sound that you agree with. It is at that point that the equalizer steps in.

I am at the point where my speaker shelving suffices.

I have two DBX equalizers from the 1980s. One of them was I believe the best that there was at the time. I can sell one of them to you at a steep discount so that you can mess with it and see if it works for you. I haven't used either in decades, so I will have my audio engineer bench test it first to male sure it is functioning as it should and certainly not DOA.

I have made a huge decision. As the MA is a lateral move from my CO in the final analysis. Each has different strengths. I couldn’t stop looking, however, at the Wes Audio NGTubeEQ. So I traded in the MA for it. It comes Monday. It has serious rails of power, all passive bands with custom inductors, SS output as well as tube output. It has all kinds of features I may never use. But I think this thing is the real deal. Oh and it does bells or shelves on all four bands. +/- 15 db each band. Or switch to 5 db mode for finer tuning. Most importantly, it can operate as a stereo program EQ where the right controls are slave to the left and auto adjust to your left settings in real time perfect level matched. It arrives Monday and I cannot wait! 

Great thread thoroughly enjoyed reading the past couple days.

Really hope it continues...

Hats off to you tlcocks for your steadfast contribution providing so much informative and logical content on this somewhat controversial topic. Myself i can relate to things you are explaining, admittedly more in a isolated discerning way, as i have virtually zero personal experience with such EQ`s. Coming more from a stand point of simply being `aware` the digital i am listening to could/should be better regardless the quality of system. I actually have one of the more up there hi-end digital systems here in Australia.

Have attended many events tried endless combinations of equipment cables tubes tweaks etc  over many years trying to reach the most pleasing balance which to be fair has often been quite satisfactory - but again - still always KNOWING deep down it could/should be better. Not in a technical way more in a natural way with what `I` find pleasing.

I still remember the first time hearing my fathers vintage Sansui 555A integrated amplifier as a teenager with efficient speakers. It has always stayed with me since. These amps seem to have have a nicely deployed integrated EQ (at least compared to so many others vintage or modern amps) specifically with it`s  `loudness` switch nicely elevating 50Hz & 15kHz.

Using the bass treble(especially treble) dials (albeit set at different frequencies) are just not the same thing sounding rather ordinary even dirty and distracting. But the loudness switch here brings a more vibrant natural delicate sparkle where female vocal/snare/cymbal in particular seem to benefit. Also more overall sweetness with  a more rich full sound and more enjoyable punchy detailed bass than it already has. 

This pre/EQ simply makes most recordings sound more pleasing to the ear especially with classic rock (my favorite) even if it does somewhat restrict areas of my systems potential. Funny because most `audiophiles` would never dream of inserting such old `inferior distortion box` into the chain. From personal experience i always prefer it in rather than out - even in 100K + system. In fact, imo, this vintage unit kind of shines in this situation and connected to carefully selected hi-end cabling/AC delivery. Exclusively not used for amplification only pre/EQ.

Oh and out of curiosity i also loaned a shiit Lokius a while back and yeah returned the thing post-haste  as my old rust bucket(not really) Sansui with it`s mere loudness switch simply sounds better! To this day i still often use this recapped Sansui not only for it`s inviting rich tone but yes mainly the loudness EQ function as described.  

Obviously my situation using this less than ideal EQ method is not comparable to what tlcocks has been experiencing with CO and other pro EQ`s, which atm i can only imagine, but again, even from such little experience i just instinctively KNOW what he is saying is true accurate and that i will really appreciate something like the CO - even without first hearing.

In the end you, tlcocks, have thoroughly inspired me to seek out a nice pro EQ for my hi-end system, and my audio journey, with little doubt i shall one day finally, safely, put away my old Sansui `distortion box` and end up much more thoroughly enjoying my system.

So big thanks with respect to you -such effort/perseverance - and of course all who have contributed to this fun thread so far. Looking forward to more!!

Pete

Also really looking forward your impression and comparison of the Wes ng TubeEQ. This thing looks frigging AMAZING  

Just 1 quick observation, and i know it`s only YouTube and also early days, but so far listening to demo`s of the Wes ng i just don`t YET hear the same HF purity and sparkle as i hear in demo`s with the Charter Oak where HF always seems to sound pretty damn nice!  But don`t want to judge anything on this so i shall eagerly await your own real life observations which i think i can trust.