Right. That's the post I've been going off of (the one you linked and posted a chart of). Looking at it again, I also prefer the original better, and the bass boost actually plays out as I will list. Prior to now, I didn't realize that a lot of the other frequencies get boosted as well, and aren't based around 0. I guess once again I didn't pay attention close enough because I wouldn't think that it would make sense to chart the graph with any kind of boost throughout the full range. That might actually be so that the line doesn't cross between the 0 mark (in which case the low-mids would go into negative). The following would be for the original version of the bass boost, with 1 KHz as the root at 0 dB (these will all of course just be approximations, I'd say with a tolerance of about +/-.1 dB).
Bass Boost Off-
20 KHz: +.18 dB
15 KHz: +.23 dB
10 KHz: +.28 dB
7.5 KHz: +.31 dB
5 KHz: +.33 dB
3 KHz: +.35 dB
2 KHz: +.3 dB
1 KHz: +0 dB
500 Hz: -.2 dB
300 Hz: -.27 dB
200 Hz: -.34 dB
100 Hz: -.42 dB
60 Hz: -.48 dB
50 Hz: -.52 dB
40 Hz: -.68 dB
30 Hz: -.78 dB
20 Hz: -1 dB
Bass Boost On-
20 KHz: +.05 dB
15 KHz: +.19 dB
10 KHz: +.16 dB
7.5 KHz: +.16 dB
5 KHz: +.16 dB
3 KHz: +.18 dB
2 KHz: +.22 dB
1 KHz: +0 dB
500 Hz: -.2 dB
400 Hz: -.12 dB
300 Hz: 0 dB
200 Hz: +.15 dB
100 Hz: +.9 dB
80 Hz: +1.4 dB
60 Hz: +2.25 dB
50 Hz: +2.6 dB
40 Hz: +3.2 dB
30 Hz: +3.8 dB
20 Hz: +3.9 dB
And BTW, in your review for the amp, you mentioned that it's sound signature initially sounded kind of cold.. Well, your brained burned in the wrong way, lol, which is actually often the case. It's frequency response as provided by FiiO and the type of amplifier that it is would indicate exactly that. That's what emphasized sub-bass rumbling with slightly recessed lower-mids and odd-harmonic distortion in the harshest ranges typically sounds like. Regardless this would mean that music recorded and mastered before the 1980's (approximate number) for the most part would never sound especially pleasant (just to give you an idea as to what I'm implying), because the amps used in studios at the time had pretty much the exact opposite characteristics. I'm all for neutral sound but calling this amp neutral would be misleading to people who hear it and associate neutral with what's realistically a cold sound signature. That's why neutral cans also often get shunned by casual listeners because people don't realize that it's the pairing of both the amp and the headphones which give you the sound, so in the case of neutral headphones, they'd just be revealing the true nature of most solid state amplifiers, especially cheap ones. But anyway, I shouldn't say any more than that since I haven't actually heard the amp, though at this point I would wager that I pretty much know what it sounds like, none of this at all to imply that it's not more than a decent amp otherwise, especially comparatively to most others in the price range.
EDIT: Looking at it more thoroughly, the original bass boost of the E12 (but maybe with two increments like on the E11 - one by 1 dB less than the current curve by the point of 20 Hz, and one with 1 dB more) is ideal! And, you know, if the following would be possible to integrate without any trade-offs, an extra added step wouldn't hurt either (so something like +3/+5/+7 by the end vs. the current +4) XD Of course without increments higher, less is always better unless we're barely talking a difference... The bass heads are of the lesser majority and shouldn't even be an influence on something. Pandering towards the uninformed/inexperienced can't possibly ever be the right approach. Almost everyone starts out a bass head but it's typically grown out of for many proper reasons.