After spending many years voicing systems with room, parametric, and graphic EQ's I have my own slant on the subject. If your system isn't voiced properly to begin with then tone controls, be they simple treble and bass, 5 band graphic like a C-34 has, or filters like a C-46 or C50 have are really not performing as well as possible. They will emphasize nasty peaks already in the system due to poor speaker design or bad room design. Dips caused by above or due to resonant panels or glass panes flexing can never be corrected by any electronic device. Standing waves and other anomalies have maybe a 30% chance of being controlled. So get the room correct first, then think when selecting your listerning position in relation to the speaker locations, then voice the system, and finally your tone controls will do the job very effectively with very little adjustment. 3 or 4 db in boost or cut can really make a world of difference in the reproduction of a performance done exquisitely from the beginning. Those who say they don't need the flexibility of tone controls are in denial. Like Paul Klipsch you to say. Go to a live concert and get your ears tuned up. And I say do it often. In doors, out doors, large venues and small. You'll soon fine that different labels have different sonic signatures, DG for instance. Some european equipment has a special EQ setting for DG recordings. They need it. Other labels like Chandos tend to mic a lot of performances at to far a distance for my taste. With just a simple little boost her and there you turn a very laid back performance to a closer more pleasing experience. Those of us with line array speakers may find some recordings to intimate which means the graphic controls on Mac pre-amps can help put a little distance between us and the performer. That's one complaint I have with the 2k and 1k, they sometimes bring the performance to close, and why I prefer the XR290 and XRT28. The XRT 26 is even worse than the IK and 2K at over emphasizing hi frequencies. I don't want Buddy Rich's cymbals and trap set sitting in my lap, and that can happen with 1k and 2k speakers. The 10 KHZ control can really return the proper perspective in most cases. Have you all ever heard a recording of classical music when every thing is just fine and then all of a sudden either the triangle, small cymbal or tambourine is just to strong with the strings having and edge as if you were sitting on the directors podium. Well a treble control with 3 or 4 db de-emphasis at 10 khz can be just the answer. Want that disco sound in your home. its easy with a parametric EQ. Just shelve up the bass from 70 hz down to 25 hz up 5 to 8db. Make sure there are no peaks. The bass will be tight and move those thigh muscles to dance, without the bloom of mushy bass contributed by frquencies over emphasized above 70 to 150 hz. Some producers choose Colette mics from Shoeps to get the emphasis above 7 khz they want, or they'll use some of the older classic tube Telefunkens or Neumann mics to get a similar result but while keeping control of the over all balance. Have you noticed in modern recording of the human voice the over emphasis of frequencies above 6 khz that were never there on recordings in the 50 60's and early 70's. Nat king Coke, Sinatra, Perry Como, Dinah Shore, Peggy Lee Julie London all had big full natural sound with out the over emphasis of todays recording from performers. Macs graphic controls are ideal to control todays overly exaggerated intimate soloist recording.
