@mlsstk in your re@russ69 making a comparison between the engineering production of a song or album is nowhere near the same as adding an inline eq to change the out out. The eq will not change the levels of frequency the engineer used. It will only increase or decrease the “level” of out put for said frequency. These are two entirely different things. That being said an eq is the only option to do what you are asking for. Also be aware that an eq is best used as a way to calibrate your speakers to your room. If your room is sucking up the bass you can add more but you can’t change the frequency the producer laid down.
Level adjusting speaker drivers
Sometimes when I listen to various things it would be nice to turn up mid and Tweeter levels, and also bass too.
The speaker gets the signal and then it's split between the drivers by the crossover's, but what about the individual levels hitting these drivers. Would it be worthwhile to have a means to increase or reduce these levels?
Anyone ever done this and what tool did you use?
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@sgreg1 -- I fully understand that one can't "unscramble the egg" once an album has been released. (I worked my way through college as a concert sound engineer some decades ago so have a fair idea of what goes on in a studio.)
However, if you don't like what you're hearing on a recording, EQ is really your only option to make any change to the sound. It certainly isn't practical to start changing speakers, amps, cables and the like every time you want a change in sound quality. Your attitude seems to be to sit back and take what you don't like.
I own a couple of Lokis (they're amazingly inexpensive relative to how excellent they are)...one for my video rig and another for the headphone amp in my hifi rig which I sometimes put in the main system if something seems to need EQ. An EQ is useful for far more than checking room effects as all recordings are different and thus interact with the room differently, but I don't use EQ often as my rig fits my room really well. I'm considering a Loki Max as operating it via remote sounds like fun and hey...who doesn't like fun? My experience with the Loki has shown it to be utterly transparent and noiseless, and I assume that the Max is also.
Way back when, in the 50s and 60s, amplifiers used to have tone controls by which the treble and base response could be increased or reduced. Then in the 80s we got graphic equalisers, that enabled adjustment of the response of different slices of the audio spectrum.
The latter were little more than gimmicks for the uninitiated to play around with. This included uninformed production engineers who ruined many a good recorded performance by messing around. To make matters worse, the circuitry employed impoverished sound quality.
As others have written above, don't go there. Get a pair of speakers that produces sound that is to your liking.
I consider it irresponsible NOT to provide level controls.
Almost ALL Vintage Speakers, Electro-Voice, Klipsch, Altec Lansing, Acoustic Research .... came with level controls (L-Pads)
Mono era: started with single speaker in a space, with level controls
Stereo, ADDED a second speaker with level controls (and ADDED a 2nd amp, thus pair of mono-blocks)
The speaker(s) knew not what space/room they would play in. Later they might be moved, used in a different space. An owner's preference (perhaps a need due to hearing issues) could be addressed.
People bought speaker(s), or speaker kits (with level controls). put them in a space, located where they fit/looked good/wife liked. Then adjust the levels for a darn good sound in that space.
Recording technics; manufacturing; design methods, everything now stereo led to starting with Stereo Pairs of speakers and all the refinements since the late 50's.
Many makers started eliminating level controls, thus no way to adjust them to your particular space.
My main system is custom enclosures with electro-voice components (horn tweeter/horn mid/15" woofer), each with a Pair of Level Controls. You first adjust the mid horn relative to the un-adjustable woofer; then you adjust the tweeter horn to the mid.
In the old days I did it by ear, with or without a friends help. Now, sound pressure meter/tripod/seated ear height and use test tracks of single tones. My McIntosh Mode Switch helps with refining results for the best frequency balance and stereo balance needed to produce excellent imaging. Amazing when you get it right.
My office, a pair of vintage AR-2ax, that came with level controls for cone tweeter and cone mid relative to cone woofer. One speaker gets a boost by an adjacent wall, the other does not. I was able to adjust them, so that I get very good sound balance and imaging at my monitor/desk chair which are centered on the speakers.
Like the old days: did it by ear, sounds darn good!
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