Tone controls -- assuming you're ok with them, when would you try them?


So, I'm learning and experimenting w/ speaker/sub placement. I've had some success. Presently using my old Adcom GTP-400 preamp (treble, bass, and loudness/contour controls). It's likely my next amps won't have tone controls (nor balance). 

Beyond compensating for old/bad recordings, I realize there is, nevertheless, a standing debate whether tone controls are worth the (likely) sound degradation. Imagine that debate was settled and tone controls were deemed worthwhile, overall. IF you'll stipulate to all that, my question is this:

QUESTION: If the sound is not right in your room, and you've placed speakers as best you can, what do you try next? At what point do you go for tone controls?

Perhaps some just go for tone controls from the get-go…happy to hear from you all, too.

FWIW, I saw this nice list from @erik_squires on this topic:   
erik_squires8,293 posts
08-19-2017 11:06am
Tone controls help us compensate for differences in recording trends across decades of recordings.
Tone controls help us adjust our sound quality to different listening situations and volumes.
Tone controls help us adjust for speaker placement.
Tone controls are much cheaper and more efficient way of doing this than most other solutions.
A good tone control is a lot easier to implement than a good equalizer. Fewer bands so more affordable to use high quality parts.

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BTW, the tide is turning. I’m seeing more and more very well designed EQ functions in modern line stages. One example would be the Zesto Leto. Included is a six position, remote controlled "Presence" control. No getting around it, some recordings are going to be edgy, aggressive or bright because someone wasn’t doing their job properly during tracking, mixing or mastering. A very nice and useful feature. Interesting to note the designer was a well regarded recording engineer for many years while the rest of us were being brainwashed through these audiophile forums.

When an audio designer is deciding on what turnover frequency will be the most likely effective to the most systems, it is a gamble. Say for example a bass tone control. Ok, where will the turnover frequency be set? I have seen them set as low as 20hz all the way up to 120hz. If you give the consumer a choice of 3 different possible turnover frequencies, 30hz, 50hz, or 100hz, then there is a greater chance that the control can do a more effective job with your system. Same of course with treble. Maybe 3khz, 6khz, or 12khz, etc. 

  Maybe the best that I have had was by SAE, which used a two band per channel parametric EQ. 

Reading this article may remove some of the apprehension {or dare I say guilt) in using the Loki for many audiophiles, including me. I’ve had it for a couple of years but, although I believe in it, have used it very sparingly to very positive effect.
it really does make a remarkable difference in the enjoyment of some sources.