So, what has time told you?
In my specific case (are they not all specific to each user with unique setups?), it was, primarily, to optimize Yamaha's room correction on the CX-A5200 PrePro with 11.2, but used as 2.2 for music.
So while we have similar reasons for using multi channel attenuation, the basic PRINCIPLE is to increase the Voltage SWING in the Pre-Amp, while reducing the Effective Gain of the power amps. This has the net effect of having the signal work further away from whatever noise floor might exist in the chain of events leading to the loudspeaker terminals.
If you look across the world as to the mean/average/typical/whatever SPEAKER Sensitivity numbers, it is about 88 db/2.83 volts power amplifier output. I sincerely believe that the operating "window" of all room correction firmware in AVR's and Pre-Pros uses this worldwide loudspeaker INEFFICIENCY that dominates majority of customers as their design target. So basically, those feedback electronics Freak Out and don't know how to handle it as well as something they expect to hear back at a much lower level.
So when the test signals are sent our and fed back into the respective Microphone port on these types of Control Units, they "hear" about 12-16 db LOUDER sounds from their bottom to top frequency sweeps. The net effect of this is it PUSHES the operating window of the PEQ's and System Gains way OUTSIDE of the "comfort zone" for which, they were designed.
When using high efficiency speakers with horns ranging from 100-112 db sensitivity, we end up confusing these units by creating sounds that are too loud for them to handle. On the deeper, technical side, I could be off base on this, but I have REACTED to it all based on the USER side of the equation.
Besides, ganged Potentiometers are relatively CHEAP vs. the rest of all this HiFi STUFF!!