Is RIAA equalisation enough for Phono Stages?

If you have many records from 1960 or earlier especially earlier than 1955 on a variety of labels, it would definitely be useful to have alternate EQ options built into the phono preamplification. You could also use the variable options to tweak modern recordings but there might be better ways to do this -- I am not sure. The above poster who cautions us not to confuse phono equalization with what you can do with a good graphic or parametric equalizer makes a good point. Just as you want to approximate the cutting head with your VTA and shape of your stylus, you want to match the phono equalization to what was used when the record was cut. This is separate from how the record/master tape was mixed -- where I'd think a house sound or the mark of a particular recording engineer is created mainly.

It would be interesting to know if any labels did not really standardize on RIAA even though it is so stated on the records and covers. The specific equipment and components used would also contribute to some variation but nothing like what happened during the 78 rpm era -- where tolerances on resisters and such were so much wider than they are today -- or so I have read from folks in the 78-L and ARSCLIST. I have not read the article in HIFI+ but would love to see it if anyone can email me a jpg or pdf.

I just got a Reequalizer unit from Esoteric Sound for 78 and early LP playback and transfer and it is easy to use and does not introduce any obvious noise that I can hear on my system. Going forward, I also hope to try out a phono stage with variable equalization built in. The manual for the Re-equalizer is available for download at www.esotericsound.com and explains the issues of phono eq v. clearly.

Since I have been researching phono stages with variable EQ, I wanted to mention some units which have it in addition to Graham Slee's Jazz Club and Revelation.

Hagerman Bugle Pro around $400, Hagerman Archiver balanced design $999, KAB USA Souvenir around $1200, Eldberg MD 12 MkII around $1200, Millennia LPE-2 $10k, FM Acoustics 222MKIII 18K, and others I am sure.

I know that SimAudio's latest unit has 1 alternate EQ setting for earlier LPs.

This is a specialized product and none of the fully variable eq phono stages are carried by a local dealer. You have to commit to some costs in order to check any of these out. I would love to know others experiences with any variable EQ phono stages. Best, Stephanie

I remember om the old days, Scott, Fisher, McIntosh all had various rolloff configurations. I remember RIAA, AES, FFRR and other indications you can point your control to.

My first phono preamp was a Heathkit, and it had separate switch-selectable "Turnover" and "Rolloff". Damn nuisance!
Standardization was the right idea.

Seems to me the original poster was not talking about historic recordings pre RIAA standardization, but that after the adoption of the RIAA curve some recording companies were stubborn or otherwise got creative with eq. Maybe someone can set the record straigth here, hell maybe even David12 himself if people let him!

I am only reporting the Jist of the HiFi+ article, whether the problem was non adoption of RIAA, or as Steph Gaynor suggests, other aspects of cutting and mastering, I am not sure. It certainly ties in with my experience of DGG, that I never really enjoyed them. Roy Gregory reports finally understanding why Karajan was considered a great conductor, with specific equalisation of his DGG pressings. I claim no great expertise or experience in using different equalisation circuits. I raised the subject, simply to find a general view of it's usefulness in considering a phono stage purchase