I'll just add that this is the last step for me, and probably the one I consider the last important. Mix choice / handling / monitor placement will generally get me where I need to be. I used Smaart on monitor wedges a total of one gig this year - I had ten on stage and the dude built them. They were all totally different and an analyzer was the fastest way to pull them back into line. I consider that an extreme case.

I will quickly tone a wedge by ear using music - anyone can do this, thinking bass - mid - treble like in your car - until it sounds natural reproducing music.

Then put it in the right spot for the mic you're using and you should be very close. If it's a very high SPL situation I will leave a spectrograph running on the console solo bus and catch anything ringing before it gets to be too audible.

To me, ringing out is a band-aid to get a few more dB when needed but shouldn't replace the rest of the due diligence. My $0.02.