One thing about the gloss control is that even with perfect hearing you won't hear it doing much, or anything, if the source audio doesn't contain enough of the frequencies it affects.

An electric guitar track that contains very little above 5KHz won't sound much different with or without gloss. Hi-hats and cymbals that do have some energy in the high treble should sound different, but not very different. To me, gloss is a function that can add a bit of "presence" or high-end "air" that brings out things like cymbals or pads. Kind of like a very mild enhancer/exciter only without the negative side-effect of exciters that can make things a bit harsh or tiring to listen to if overdone.

twelvetone
 
>>Or better yet, hear what the different settings do.
 
That's precisely the point.
 
In this thread ...
 
How Many Here Truly Understand the Difference Among the QuadCurve EQ Types...
http://forum.cakewalk.com/How-Many-Here-Truly-Understand-the-Difference-Among-the-QuadCurve-EQ-Types-m3232088.aspx
 
...so many people responded expressing confusion and that they DON'T hear a difference.

 
This is the value of the "de-mystified" blog post. For example with the E-Type, the blog explains Q is higher at low boost settings than the same settings with the G-Type. So with low boost settings, you'll hear a significant difference but with higher boost settings, you'll hear no difference (all other settings being equal).
 

twelvetone>> with analog EQs there was always interaction among settings.
 
Yes, and this means the sound engineer had to readjust the other settings, just because (s)he adjusted this one. Interaction was a shortcoming of the analog electronics. It was not a desirable trait by any means. 

From a theoretical standpoint, it's not desirable. However, from a practical standpoint, if an engineer understood how the EQ worked and how the bands interacted, it opened up a wealth of creative possibilities. For example, here the G-type EQ is taking advantage of the interaction between two moderate boosts to create a "plateau" curve which no single band could do. (The same settings with the E-type produce a double peak because the Qs are greater for the same amount fof boost.) 
 

 
Now here's a curve using the "Pure" option to create a steeper pre-boost slope, and a gentler post-boost slope. 
 

 
This is why there's no definitive way to say "this EQ does a particular thing" because each curve is more like a toolkit. It's very helpful that the QC shows the composite results of boosts and cuts as well as the individual boosts and cuts for the bands.
 
Admittedly, this turns what should be simple ("hey, I just want more mids") into something that can become quite complex and require a significant amount of experience to exploit to the fullest. But, that's the double-edged sword of anything that lets you go really deep...
 

my bad. Meant the "Flyout QC". Just find the larger display easier to work with when rolling. 

>>  Gloss adds a subtle high-frequency lift that starts around 5 kHz, and becomes most prominent in the 8 to 20 kHz range.
 
On my Sonar I see a boost of about 1 to 1.5dB.
There must be more to it than that, and it is an explanation of that, in technical terms, that I am trying to discover.

My current way-of working is exactly as you describe.
 
The QC as is covers most tasks well. Easy enough to insert another EQ in PC/FX bin for a specific task as needed. Realistically, it's mostly just -one- more band that's needed, so hardly a justifiable use case for development. FX bin clutter is also less of an issue with Platinum. 
 
My reference comes from working with BFD which includes an 8 band EQ in their channel FX. An idle thought for improving workflow by minimizing knobs in multiple corners, keep it all in Sonar.
 
Completely agree with getting the tracking right though. Gotta love well engineered tracks that mix themselves but not something I can control for the majority of what ends up on my plate. Seeing a lot of indie DYI, frequently have to ask if that "lofi" sound is really what they want.
 
and ya know, those old consoles did come with patch points ... so only practical limitations apply in the end.
peace
 
 

twelvetone
>>  Gloss adds a subtle high-frequency lift that starts around 5 kHz, and becomes most prominent in the 8 to 20 kHz range.
 
On my Sonar I see a boost of about 1 to 1.5dB.
There must be more to it than that, and it is an explanation of that, in technical terms, that I am trying to discover.

It really is as simple as it seems: a subtle "lift" in the highest audible octave to add what people call "air." You could use a shelving EQ to do that, but then you'd have to give up a stage.

I would love to see a 'ca73' plugin!

Been saying it on here since it was first introduced; Users should be allowed multiple instances of the Quad Curve EQ in a single Pro Channel.  All ProChannel modules should allow this most basic functionality.

Seems to me that the pro channel itself is the problem. It just looks like an artificial construct for sales purposes. Can someone give me some benefit of using the pro channel over just having the plug ins placed in the fx bin? Keep the plug ins proprietary. Maybe i am missing sonething that would make the obvious work flow issues worthwhile.

EQ , Tube and Compressor seems to be the PC effects that can be only used once. All others you may have multiple instances of. The logic behind it is bizarre.