INSTRUCTIONS FOR OPERATION OF REK-O-KUT RE-EQUALIZER
INTRODUCTION:
Modern preamps are designed solely for today's microgroove, RIAA equalized recordings. In the 1950's,
they included switches providing several different RECORD COMPENSATIONS. The more expensive
units had two switches labeled TURNOVER and ROLLOFF. Turnover refers to the bass boost that must
be applied to compensate for the diminishment of bass during record cutting to avoid crosscutting of the
grooves. Rolloff refers to the treble loss to compensate for high frequency boost applied during record
cutting. The benefit of the latter is a reduction of surface noise during play.
Before 1954, there were a variety of recording characteristics, such as AES, LP, NAB and FFRR. Most
were used for a brief period, say between 1940 and 1954. Before 1940, most records were cut flat with
only a low frequency turnover below from 300 Hz to 800 Hz. This also applied to broadcast transcriptions
and Vitaphone-type recordings used before sound-on-film. So, if you play a pre-WWII 78 rpm record
through a modern preamp, you are actually effectively playing it with a scratch filter whose cutoff begins at
2200 Hz. This accounts for the lack of highs and slightly muffled voices experienced with these records.
One way of dealing with the equalization problem is to use a graphic equalizer, but it is very difficult to get
accurate results by this method. Another way of dealing with the record compensation problem is to
modify your modern stereo preamp with an equalization switch for both RIAA and other compensations,
but it may spoil the cosmetics of your $1800 preamp.
There is also the problem of what to do with recordings of vintage discs made off of modern RIAA phono
amplifiers. They will suffer from the frequency response distortion caused by the RIAA amplifier and they
cannot be played through the phono input of a properly equalized preamp.
The RE-EQUALIZER solves this. It is used after the RIAA phono stage, and connects to the system like a
common graphic equalizer. It will then compensate any signal source for proper equalization. The RE-
EQUALIZER allows the use of any phono amplifier and will not degrade the performance of any
audiophile unit.
CONNECTION:
The RE-EQUALIZER should be connected to
the stereo system just like any other auxiliary
sound processing component. De-clickers,
such as the Packburn 323 or Esoteric Sound
SURFACE NOISE REDUCER, must
always
precede the RE-EQUALIZER. If tape
recording is not
used, connect the RE-
EQUALIZER in the tape monitor path. If tape
recording is desired, connect the RE-
EQUALIZER in the tape monitor path (Fig. 1)
and use a "Y" connector to feed its (or
associated equipment's) output to an unused
"Aux" input. Tape playback will be via this
"Aux" input. With the tape monitor switched
in, you will hear via your speakers the sound
that is being processed.
If your preamp/amp/receiver does not have a
separate "Aux" input, eliminate the "Y"
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