RECOMMENDED SETTINGS (see tables):
These are recommendations, but not written in stone. As documentation of recording curves is difficult to
track down, some experimentation may be called for. Be particularly observant of matrix numbers
surrounding the label area and record labels for dating records.
Tables for record compensation settings were published in most early hifi magazines (“Dialing You Discs”
in High Fidelity) but are often fallacious. These turn up occasionally and may be consulted. In
"Conversations With Toscanini," by B. H. Haggin, many subjective suggestions are given for playback of
Toscanini discs.
HINTS ON USE:
One advantage of the RE-EQUALIZER is the ability to use it on tape recordings of vintage records made
with RIAA equalized preamps. Do not trust all transcription and record labels. Also, many small recording
company and radio station engineers seemingly didn't understand the technology and often employed no
pre-emphasis on recordings labeled as NAB. This has been found to occur even on discs cut in the
1960's! Many pre-WWII radio shows which were recorded with flat highs were re-syndicated again in the
late 40's and 50's. As original masters were normally used, the re-release will require a flat Rolloff even
though the label states NAB or Orthoacoustic! This is also true for post-WWII 78s. Play LP reissues of
78s, as on RCA Bluebird, with the Flat Rolloff position and you will be in for a pleasant surprise.
You may find many discs that do not fit the tables or are ambiguous. For these, you will have to let your
ear be your guide. Western Electric, Columbia, and non-US companies tended to use 300 Hz Turnover.
Listening to the material will often suffice to impress you whether to use 300 Hz or 500 Hz. Once the low
end is determined, try various Rolloffs. Almost all early electrical recordings were recorded with flat
response. If noise proves a problem try more than the recommended Rolloff.
When playing older or abused records that require less Rolloff, i.e., Flat, -5, -8, a significant increase in
noise level will often be noticed due to surface noise. In these cases, a high frequency, lo-pass, hi-cut, or
"scratch" filter is recommended. Don't forget that when playing a flat cut record with an RIAA preamp, you
are actually effectively using a scratch filter that is some 13.7 db down at 10 KHz. With these types of
records, with let's say a 7.5 KHz scratch filter and the RE-EQUALIZER set to FLAT, you will be gaining in
highs between 2.2 KHz and 7.5 Khz. Although the scratch filter is employed, its use with the RE-
EQUALIZER may result in significantly more highs than with a standard RIAA preamp and no filter.
When playing vertical-cut records, such as Edison or Pathe, switch one pair of leads (non-earth ground) of
a stereo cartridge used for play. If not done, the channels will largely cancel when the RE-EQUALIZER is
switched to “IN,” resulting in very low volume.
Most commercial, pre-RIAA records had matrix numbers that were of larger, often cursive fonts, and were
raised from the surface. Their characters appeared to be made with punches. Most RIAA discs had
smaller, more Arial fonts and appeared to be etched into the surface. You can use a toothpick and
magnifying glass to help determine this.
LONDON/DECCA OLDER MATRIX LONDON/DECCA NEWER MATRIX
Page #3
(11 paginas)
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