Travis Hartnett wrote: "And re: programmable digital EQ's with settings for a given "room": a room is never the same acoustic space twice. Heck, the difference between soundcheck and the gig is usually pronounced due to people coming and going." Of course this is true, Travis, but there are certainly approximations of sound absorption that comes from a partially full or full house (I believe their is a 40% absorption factor, approximately with a room full of people and there is a tendency for more hi mid to hi frequencies being absorbed with more people in the room with an attendant roll off of bass frequencies that is less pronounce due to the large size they are). Having done professional live sound engineering many times in my life in a plethora of different room sizes (from large auditorium to dank clubs to outdoor venues) and different stylistic kinds of music, I have a strong sense of how a space sounds at soundcheck and how to compensate when the room fills up and getting a feel for this just takes a bit of time with anyone who is talented with good ears. It will never be perfect, as you point out, but I've heard live loopers have superlative sound coming from the stage. Indeed, the Y2K festival frequently has good sound (not always, because we've blown a couple of experiments) and the sound board has been in between the two stages without a specific monitoring engineer. So, I actually think that the use of customized presets (three for each room you play in: soundcheck empty, lightly attended and packed house with increasing compensation for diminished mid-his and diminished subsonic multiplication----people breaking up standing bass standing waves actually can be efficacious in a mix. Even from the stage, whilst using a subwoofer, it's pretty easy to hear how much subsonic multiplication is occurring....................a walk to the front of the speakers (both right in front, to each side and to the very back of the room) will at least yield what the actual room's acoustic properties (is it a bright reflective room, a boomy room, a prounounced slap back (predelay), etc.) I've found that keeping things perflectly flat, response wise, is always a great policy until one gets the hang of sound of any room: empty or full it's not terribly difficult to compensate for a full house. Usually one just raised the over all volume and compensates minimally for certain frequencies that may have been attenuated with the presence of a lot of bodies. I still think, consequently, that there is a place for pre-set customizeable EQs. I know Berhinger makes a couple of really inexpensive ones.