Good Analog EQ


Looking to integrate some form of analog EQ as a temporary solution until I change my speakers (which is going to take a while).

I can appreciate that adding anything into the signal path is not ideal but I'm wondering if it might be a worthy tradeoff since I have a fairly high resolution system but am not hearing it all because of too much bass (and yes, I have some room treatment already).

If I unplug the low frequency speaker cable from one speaker I get a huge improvement in detail (but of course suffer in other ways), so I'm thinking if I get my hands on some decent equalizer I might be able to improve things.

I use digital room correction for digital sources, but obviously don't want to do this for LPs.

Thanks in advance.
madfloyd
Peidpiper makes a good point. There are many types of EQ and each is best suited to particular applications. Manley's Massive Passive is a parametric EQ which could be used for room correction (2channel only) with the support of external measurement/filter calculation programs like REW. OTOH, it is best suited for (and designed for) equalizing the sound source for mastering. Contrast this with modern digital EQs (yes, I know the title of the thread) which can offer a very large number of filters with complex parameters more suitable for the complexity of room acoustics. The first step is to determined what you are trying to accomplish in your particular room.

Kal
Also, best to start with an optimized setting so as to minimized required corrections.
Speaking as someone from the pro audio community, I would offer that there are a number of excellent eq's depending on your price range. I would not use a parametric eq of any kind with a stereo system. They are a diffferent animal and meant pretty much for surgical stuff. A transparent broadband eq could be fine or you could go for something with a little more color.

The trouble with pro audio stuff though is that most of it is parametric. EQ causes phase shift so you have to be careful but your ears can be the judge.

A pass filter set might do you well too depending how severe your problem is. These are passive and so they really don't degrade the system much.
Ok, so we're talking Aerial 9's. Close, but not quite up to my 10t's. ;-) Ixnay the L-paday. You don't want to mess up what Kelly has done at all. I can guarantee you that those dips you mentioned are room interactions, not the speakers.

It is all about placement and amp control with these upper end Aerials. The 9's aren't quite as tough as the 10t's to site in a room because of the difference in port location but the same rules of thumb apply. Some of this has been covered by other posters.

They need to be at least 5' from the back wall and at least 3' from a side wall. Personally, I would spend the money on the better Aerial speaker stands before I would put any more components in the chain. But that's just me.

The most important issue with getting the most from Aerials is amplifier control. The amp has to have a vice-like grip on the woofers or you get boomy, muddy bass. I would not use less than 250 watts/ch and probably SS.

Another issue is speaker cables. I would not use any of those fat, high capacitance cables. You can hear that in the bass as well. A nice tight thump becomes more like ttthhhhuuuuummmmppppp.

Your room dimensions are similar to mine, except that I also have a L-shape so there is some more volume in my room. Anyway, I found that the 10ts worked best for me on the short wall, firing down the length of the room. This allowed me to get the speakers about 7' from the back wall, and 3 to 4' in from the side walls. From there you can play with moving your seating position but about about 8 to 10' back from a line drawn between the speakers should be close.