Playback equalization for 7. Playback equalization (EQ or de- emphasis) is necessary to restore the signal's original frequencies. Only thus can music lovers enjoy the original sound of the music performed long ago from their rare discs. This process, known as 'pre- emphasis', allows the low frequencies to be accommodated in the limitations of the record groove and reduces the effect of high frequency surface noise. If pre- emphasis was not carried out, the bass notes in the music would create a groove in the record that oscillated so wildly that the stylus could jump out of it on playback, and the treble notes would be drowned out by the surface noise of the stylus in the groove. This is known as 'de- emphasis' or equalization (EQ).
However, before the RIAA curve was adopted, each record label used its own EQ curve for recording and, for these records (7. EQ curve must be used for playback.
Record meaning, definition, what is record: to store sounds or moving pictures using electronic equipment so that they can be heard. While this page deals mainly with 78rpm playback equalization curves, some detail on early (pre-1955) LP curves is also included. The Audio Capacitive Touch BoosterPack (430BOOST-C55AUDIO1) is a plug in board for the MSP430 Audacity Tutorial: How to Record and Edit Audio with Audacity. This Audacity tutorial will help you to get up and running with the free open source audio editing.
To record data from an audio input device (such as a microphone connected to your system) for processing in MATLAB
Bass Boost curve: 3d. B at 5. 00 Hz. Figure 2. Treble Cut curve: - 1. B at 1. 0 k. Hz. Figure 3. Combined Bass Boost and Treble Cut curve.
The EQ curve may also include a Low Frequency Shelving filter, (although it is absent from the definition of most 7. EQ curves). Figure 4 shows the effect of a 5. Hz LF shelving filter being added to the curve in Figure 3. This is in fact the RIAA standard EQ curve.
Combined Bass Boost, Treble Cut and 5. Hz LF Shelving curve. Acoustically recorded (pre- electric) 7. For more details see: Acoustic recordings). In some early EQ curves of electrically recorded shellacs, while there is a bass boost curve, there is no treble cut necessary . This is not an error, but is due to fact that the gains of the bass boost and treble cut curves are simply added together.
The tables below have been obtained from websites which, in their turn, have compiled data from a number of sources and should prove reasonably accurate. However, the ear of the listener is the final arbiter - if it doesn't sound right, it isn't right! Graumann, Schallplatten- Schneidkennlinien und ihre Entzerrung, in: FUNKSCHAU 1.
Heft 1. 5, pp 3. 59 ff. B @ 1. 0 k. Hz. . Galo, The Columbia LP Equalization Curve, ARSC conference March 2.
Gary A. Galo, Disc Recording Equalization Demystified, in ARSC Journal Fall 1. EQ Curve Generator. EQ Curves for Audacity can be generated from these Frequency and Rolloff values using the experimental Nyquist plug- in . This plug- in is obtainable from the top of this Forum topic and requires Audacity 1. For more help installing the .
You can find help inside the plug- in by choosing one of the Help options in . How to get an EQ curve from this Wiki and add it to your Audacity. Columbia and His Master. Also used by Telefunken . The above download is an experimental replay EQ curve for this microphone / pre- emphasis combination. Additional background information is given in this PDF.
EQ toolbox for pre- RIAA 3. Here is the most likely of some slightly different versions which have been published.
NAB . 6 d. B more bass boost than Columbia LP. RCA 4. 5 . This is why the extra positions X and A were provided . If you already have an account on this Wiki, please post your comments directly on this article's Talk Page. Acoustic recordings and Broadcast Transcription Discs Acoustic recordings (before 1. Some more information is here on record labels and on technical background.
Some more information is in this PDF. If it is necessary to play the record through a system that applies modern RIAA equalization, select the . M in a circle BBC 2d. B/oct. Decca label Decca 7.
N- 5. 5 3. 00 N - 5,7 PC. Brunswick 1. 94. 6 5. N- 1. 6 5. 00 - 1. ES. Brunswick (American) 5.
FLAT 5. 00. N- 0 5. N 0 ia,JP,RF,PC. Brunswick to 1.
N- 8 6. 29 N - 8 mm. Brunswick 1. 94.
N- 1. 2 6. 29 - 1. ES. Capitol earliest 7. PC. Capitol 1. 94.
American 7. 8 2. 50. N- 8 2. 50 N - 8 mm. Capitol 1. 94. 2 - ?; probably . Hz ???) 6. 29 - 1. ES. Decca (American) 1.
AES 4. 00. N- 1. 2 4. N - 1. 2 mm. Decca (American) 1. Nov 1. 95. 5 NAB 5. B- 1. 6 5. 00 B - 1. Decca (British) 1. DR8. 48. 5- 2; test disc: Decca K. London T. 4. 99. 7 Blumlein.
N- 0 3. 00 N 0 PC. Decca (British) to 1. European 7. 8 2. 50. N- 0 2. 50 N 0 ES,mm. Decca (British) 1.
Decca K. 1. 80. 2, London T. Decca 7. 8 3. 00. N- 5. 5 3. 00 N - 5,7 PC. Decca (British) 1. Decca 7. 8 3. 00.
N- 5. 5 3. 00 N - 5,7 ES,mm. Decca (British) some 1. London LP 5. 00. C- 1. C - 1. 0,5 mm. Decca (European) to 1. European 7. 8 2. 50.
N- 0 2. 50 N 0 mm. Decca (European) 1. Decca 7. 8 3. 00. N- 5. 5 3. 00 N - 5,7 ES,mm. Decca (European) 1.
Telefunken + Decca UK = TELDEC since 1. Telefunken 4. 00. N- 0 4. 00 N 0 mm. Decca (European) some 1.
CCIR 7. 8 3. 50. N- 1. N - 1. 0,5 mm. Decca ffrr 1.
London ffrr Decca 7. N- 5. 5 3. 00 N - 5,7 ia,mil,JP,RF.
Deutsche Grammophon alias . HH, JJ, HR, JR, Ee (made by Gramophone Co.) . SM4. 20 5. 00- FLAT 5. N- 0 5. 00 N 0 PC. Musicraft 8. 00 RIAA ES. Musicraft 7. 00 or 7. ES,mil. Nat. HHH to TTT and NGS.
NGS. 1. 02 BBC 2d. B/oct. CAR6. 80. 0 5. FLAT 5. 00. N- 0 5.
N 0 PC. Scala 1. 92. M in a circle BBC 2d. B/oct. X1. 00. 29 A.
K0. 53. 12, with M in a circle BBC 2d. B/oct. Due to changes in the setup of the Blumlein cutter the characteristic of the recordings could vary between 1. Hz- FLAT and 5. 00 Hz- FLAT, resulting in +/- 4 d.
B at 5. 0 Hz. Technichord used its own . Very early Columbia and Victor recordings (1. Hz but their treble is described as . NAB 5. 00. B- 1. 6 5. B - 1. 6 ES,mm,JP,RF.
Audiophile 1. 95. MGM . 5. 00 Columbia LP 5. C- 1. 6 5. 00 C - 1.
GH,mm. Bach Guild no. Bartok 6. 30. C- 1. C - 1. 6 ES,mil,mm,JP,RF.
Bartok no. 3. 08, 3. RIAA 5. 00. R- 1. R - 1. 3,7 Hi. Blue Note to Sept(?) 1.
LPs: from XA5. 61 to XAX8. XRX1. 2; EPs: 7. TCA 7, 7. TCO 6; SPs: 7. XCA1. XCO 8. 7 5. 00- FLAT 5. N- 0 5. 00 N 0 PC,ES. Concert Hall (American) to 1.
XTV matrix to 2. 03. Columbia LP 5. 00. C- 1. 6 5. 00 C - 1. Hi,ES,mm,JP,RF. Concert Hall E1. KP/E2. KP matrix ??? AES 5. 00 - 1. 2 ES. Concert Hall marked AES, E1.
KP / E2. KP matrix AES 4. N- 1. 2 4. 00 N - 1. ES,mil,mm,RF. Concert Hall E0 matrix Old RCA 8. N- 8 8. 00 N - 8 ES.
Concert Hall CH matrix? DECCA subsidiary NAB 5. B- 1. 6 5. 00 B - 1. Hi,mm,JP. Coral sub of Decca (Amer.) up to MG4. Old RCA 8. 00. N- 8 8.
N - 8 ES. Coral 4. Decca (American) 1. London LP 5. 00. C- 1. C - 1. 0,5 mm. Decca (American) 1. Bartok 6. 30. N- 1.
N - 1. 6 Hi,ES,mil,mm,JP. Elektra EKL 1. 6, 2. RIAA 5. 00. R- 1.
R - 1. 3,7 Hi,ES,mm. EMI- Angel to 1. 95. Deutsche Grammophon releases in US Old Ortho. LPs: 2. XEA2. 13 - 3. XAV1. 45; EPs: 7.
TEA 1. 9, 7. TAV 2. SPs: 7. XBA1. 4 - 2. XCS 2. 3, 7. XLA 2, 7. XRA 3. 0, 7. XSB 6, 7. XVH 7. 0, 7. XEA6. XAV2. 27 5. 00- FLAT 5.
N- 0 5. 00 N 0 PC,ES. His Master's Voice (British) Columbia LP 5. C- 1. 6 5. 00 C - 1. GH,JP,RF. Kapp no. Kapp 8. 00. N- 1.
N - 1. 6 Hi,ES,mil,mm,JP. Kendall to 1. 95. NAB 5. 00. B- 1. 6 5. B - 1. 6 Hi,ES,mil,mm,JP.
L'Oiseau- Lyre to 1. OL5. 00. 18, prod. London 4. 50 - 1. JP,RF. London to LL- 8. London LP 5. 00. C- 1. C - 1. 0,5 Hi,mil,mm.
London ffrr; after matrix ARL1. B*** ??? London 5. ES. London ffrr after 6/1. FLAT 5. 00. N- 0 5. N 0 ES. London ffrr; after matrix ARL2. A RIAA 5. 00. R- 1.
R - 1. 3,7 ES. Lyrichord 1. Columbia LP 5. 00. C- 1. 6 5. 00 C - 1. JP,RF. Lyrichord 1.
NAB 5. 00. B- 1. 6 5. B - 1. 6 Hi,mm. Lyrichord 1. RCA Old Ortho. MGM curve still used in Oct 1. SPs: 7. XSM2. 03 5. FLAT 5. 00. N- 0 5.
N 0 PC. Music Treasures all Columbia LP 5. C- 1. 6 5. 00 C - 1. New Records to 1. Columbia LP 5. 00. C- 1. 6 5. 00 C - 1.
ES,mil,mm. New Records 5. ES. Nixa (British) 1. US matrixes from Westminster Columbia LP 5. C- 1. 6 5. 00 C - 1. PC. Nixa (British) to 1. AES AES 4. 00. N- 1.
N - 1. 2 mm. Nixa (British) to 1. NAB NAB 5. 00. B- 1. B - 1. 6 mm. Nixa (British) US matrixes from Polymusic or Urania; mastered by RCA Victor Old Ortho. XTV2. 03. 86 NAB 5.
B- 1. 6 5. 00 B - 1. Hi,ES,mil,mm,JP,RF. Overtone up to matrix XTV2. Col. LP 5. 00 - 1. ES. Oxford to 1. 95.
LPs: XEX 6. 0; SPs: 7. XCE1. 35; (EPs were probably all RIAA) 5. FLAT 5. 00. N- 0 5. N 0 PC,ES. Period 1. NAB 5. 00. B- 1. 6 5. B - 1. 6 ES,mil,mm.
Philharmonia to 1. Play 4. 5s; (from E2. RP4. 09. 4) RIAA 5. R- 1. 3. 7 5. 00 R - 1. Hi,GH,ES,PC. RCA Victor 1.
RCA Victor 1. 94. D9 to EOLRC3. 98.
This EQ can be traced back to Langford- Smith (1. Powell reads this as 3. Hz (wrong!) and - 1. B (correct!). High Fidelity Magazine, October 1. Esoteric Sound and the updated EQ list from the manual of their re- equalizer preamp in which they also have very useful tips how to identify LPs by their matrix number (British London / Decca, American Decca, American Columbia, RCA Victor).
Graumann, Heinz; Schallplatten- Schneidkennlinien und ihre Entzerrung, in: FUNKSCHAU 1. Heft 1. 5, pp 3. 59 ff.
Millennia Music and Media Systems and their list MM Legacy Recordings: 7. EQ Chart. pdfmm .. Midi. Magic is probably the most comprehensive and reliable websource. Richard Brice in Pspatial. Audio. RF .. Russell Fisher / W.