Mr.//Dionisis Plarinos// is doing a research on Equalization Curves and Polarity in recordings and would like your input on the following:
To the vinyl guild
An issue on “equalization and polarity”.
It is a well-known fact that until the mid 50's (1954) almost every different recording label had its own “equalization curve” and inverted polarity. From that time on, RIAA became the standard EQ (equalization) curve for every label, with RCA being the leader in this application.
However, many recording companies, especially the ones based in Europe, were reluctant to conform to the RIAA standard and continued using their own EQ version well into the early and mid 1970's.
One of the main reasons being the enormous cost needed to replace their highly expensive equipment and/or the risk of jeopardizing the sonic signature of the mastering engineer or- even to a greater extend- of the recording label.
My question is, what happens during modern remastering/reissue of such non-RIAA recording labels. Does todayʼs engineer have a method to detect the actual “EQ curve” and "phase" of the recording and in sequence to apply corrections necessary for “RIAA curve” and proper "phase/polarity" when the master lacquer is cut?
This is important information for someone having a vintage LP collection and also considering investing in a high quality phono stage. We are all aware that most high-end phono stages out there are designed with RIAA EQ de-emphasis only and very few manufacturers offer the option of multiple EQ curves together with a polarity switch.
Listening to many early recordings, one can really hear the difference when proper equalization and polarity is selected, especially in the upper octaves of the treble area.
Since there is a lot of controversy and inconclusive data on the subject, your based on fact comments are mostly welcomed and certainly appreciated.
Regards,
Dionysios Plarinos (ACA member)
