drmatt wrote: 
> I also find that if I was going to do electronic/digital eq it would
> have to be done per-album, given that they are all mastered so
> differently. 
> 

The fact that albums are mastered differently does not oblige the
speaker equalization be individually tuned differently for every album
in any special way that would apply only to electronically equalized
speakers.  First off, every speaker is equalized during its design
phase. You have to be intentional about getting the desired frequency
response. Secondly, a speaker that is equalized by the design of its
passive crossover is actually electronically equalized so there is not
necessarily any difference
for this reason. Thirdly, mastering is not necessarily something that
needs to be removed or compensated for.

> 
> So I don't.
> 

Looks to me like a phobia that is based on a poor understanding of
mastering and loudspeaker design, no doubt reinforced by sighted
evaluations that generally confirm the listener's beliefs, whether true
or false.

> 
> I actually think that minor tonal differences you just accommodate,
> there's not a huge amount of need to correct them in software or
> hardware (it gets corrected in wetware).
> 

Ignores the fact that mastering is often used to correct tonal
differences, not add them.  Trying to compensate for mastering (which is
about far more than just frequency response) can be a giant step
backwards.

> 
> Plus my room is fairly small so when I'm properly listening i can
> pretty much treat the speakers as near field monitors and (almost)
> forget about the rest of the room.

Smaller rooms generally color sound at least as much as larger rooms.
The colorations may be different, but they can be just as obvious. Just
because you are listening in the near field does not eliminate the need
for proper room tuning or speaker positioning and equalization in that
room.


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