Different strokes, I guess.
Since every record is mastered differently, it follows that every record needs a different equalization. The recording engineer gets to choose his EQ - I think that I should get to choose mine.
I built my phono / pre-amp to have auxiliary and sub settings proportional to the main volume control. The pre is right behind my chair. Two auxiliary bass panels and one isobaric sub, crossed over at 200 Hz and 50 Hz respectively, are powered by Bryston amps, yielding a room with fairly uniform bass. (gotta love 350 clean wpc into 8 ohms, especially with 4 ohm speakers, and Bryston pushing current)
With adjustable EQ. My test records just have to lump it.