I'm with Alan on this. Nobody is saying that the techniques used for recording studios are not appropriate for recording studios... it's just that a recording studio is not the same as a playback environment or auditorium.
Randy, I didn't see Alan actually mention EQ. He was talking more about signal matrixing between the channels and attempting to cancel out cross-channel echos by mixing in an inverted "pre-echo" across the channels.
EDIT -- Randy, I agree completely with you on the value of bass traps and reflection treatments (if not overdone) in a listening room. I only disagree with the argument that "everything which is good for a recording studio is also good for a listening room".
As Alan says, many rooms don't need reflection treatments but the ones which do need them get a huge benefit. Alan is right that adding absorbtion to a room "just because my buddy did" is often a waste of time and can make things worse, but if you add the RIGHT treatments for your room the benefits can be huge.
FURTHER EDIT -- the other difference between a recording/mixdown facility and a listening room is that in one case you want to hear exactly what is going on the recording (minus any room effects) whereas in the other you are looking for the best overall sound, ie if the room adds additional "spaciousness" and that improves the listening experience then that is a Good Thing.
If you over-treat a small room it sounds like a really small room
