I transfer flat. I have a preamp that I've modified to make the RIAA
curve defeatable, so it's easy.
Once transferred, I apply a low-frequency curve using the shelving
function of the parametric equalizer in Adobe Audition, then do the
highs using the sci3entific filters, set to 6dB/octave. On acoustical
recordings I find that doing a preliminary low-pass run of about 13kHz
makes the click-cleaning function of DC-EIGHT work better. I'll add
high-pass filtering to get rid of infrasonic junk, typically 23Hz
12dB/octave for electrical recordings, 80Hz 12dB/octave for acoustical.
Acoustical discs typically also get some low-pass filtering at 7-10kHz,
depending on the material. Usually 6dB/octave, but I'll use 12dB/octave
if a client demands it. All 12dB/octave filtering is done using a Bessel
But it all starts with a flat transfer.
On 12/21/2013 11:49 AM, Tom Fine wrote:
> Hi Mickey:
> Do you know off-hand what is the pitch shift to get a 33 1/3 transfer to
> 78 pitch? Soundforge has a pitch-shift tool, so I could definitely try
> What you're saying makes some sense but if you're doing for-release
> transfers, why not own a various-curves preamp like the TDL Restoration
> Preamp or something more fancy? Or a mastering equalizer?
> I start with the TDL, then usually feed the output to an equalizer to
> nip and tuck here and there. I've found that if you nip and tuck the
> midrange to get the most natural tonal balance, the bass and treble will
> fall into line. Some discs need treble taming to get rid of noise, and
> if you use a parametric you can usually tune up above any significant
> musical information. I've heard claims of high treble content on 78s,
> but I have never seen it on a spectrum graph. The mics of the day
> weren't capable of gathering information at the frequencies claimed, and
> horn systems weren't sensitive enough to pick up any high-treble
> -- Tom Fine
> ----- Original Message ----- From: "Mickey Clark" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Saturday, December 21, 2013 12:18 PM
> Subject: Re: [ARSCLIST] Record Equalization
>> I get around the RIAA curve by recording slow. High frequencies on a
>> 78 when played at 33 1/3 will be presented to the RIAA circuitry at
>> just under a third of their original frequency. i.e. 10,000 cycles at
>> 78 will be just over 3,000 cycles at 33 1/3 which means less
>> suppression of the high frequencies at playback.
>> The result is a fabulous kick of bass and depth , and clarity and
>> transparency for the high frequencies. I have digitized thousands or
>> recordings this way and am satisfied that it works for most recordings
>> - but not all. e.g. Columbias - notably 'Gentlemen Prefer Blondes' is
>> one of these exceptions.
>> Once you play a 78 through an RIAA preamp at full speed, you kill much
>> of the high frequency information and you cannot equalize it to get it
>> back-Anyone interested in a sample to illustrate this, please advise
>> me and I can send an example. I have covered everything from
>> symphonic, opera, blues, jazz and spoken word and have samples I can
>> send as mp3's. The link below is a slow transfer of the Gigli/Caniglia
>> version of Verdi's Requiem. I did adjust the bass eq slightly to
>> smooth it out, as there was a bit of a hump in the curve before eq.
>> the trble is kept intact - all the best to the group and a Merry
>> Christmas to All-Mickey Clark
>> ----- Original Message ----- From: "Doug Pomeroy"
>> <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Friday, December 20, 2013 1:52 PM
>> Subject: Re: [ARSCLIST] Record Equalization
>>> The Radiotron Handbook entry shows only one curve "used by R.C.A.
>>> Victor for 78 r.p.m. shellac discs, 45 r.p.m. and 33 1/3 r.p.m. fine
>>> groove" discs. As there was no RCA Victor before 1929, this does not
>>> tell the whole Victor story and does not answer the specific question
>>> Steve Smolian asks (about electrical Victors made in the short period
>>> before November of 1925).
>>> Maxfield and Harrison's 1926 paper describing the Western Electric
>>> system clearly indicates a bass turnover of 200 Hz and pre-emphasis
>>> ("constant acceleration") above "approximately 4000 Hz". This was
>>> before electrical record players were widely available and this curve
>>> was developed in consideration of playback by acoustic record players.
>>> As has been mentioned, Victor raised the bass turnover over the years
>>> from 200 Hz to 300 Hz and finally to 500 Hz. Nick Bergh knows the
>>> cutting equipment used and speaks with authority on the subject of
>>> EQ. I showed him a Victor ledger sheet from December 1926 which
>>> includes a column marked "Eqlzr." and it only shows the words "on" or
>>> "off" which doesn't tell us what we'd really like to know! It's safe
>>> to say that at Victor, experiments with various cutting equalizations
>>> were being done
>>> on an ongoing basis.
>>> Doug Pomeroy
>>> Audio Restoration and Mastering Services
>>> 193 Baltic St
>>> Brooklyn, NY 11201-6173
>>> (718) 855-2650
>>> [log in to unmask]
>>>> Date: Thu, 19 Dec 2013 18:36:58 +0000
>>>> From: "Gray, Mike" <[log in to unmask]>
>>>> Subject: Re: Record equalization
>>>> From Radiotron Designer's Handbook, 4th Ed. 1953, p. 728, item 17.5:
>>>> "There is no 'optimum' cross-over frequency because the choice is
>>>> necessarily a compromise. Where distortion is the principal
>>>> criterion, a low cros-over frequency from 250 to 350 c/s will be
>>>> adopted for standard groove 78 r.p.m. Where needle scratch is
>>>> troublesome with 78 r.p.m. a high cross-over frequency of say 500
>>>> c/s may be adopted."
>>>> On page 730, under Practical recording characteristics:
>>>> "There does not appear to be any generally accepted definition of
>>>> published recording characteristics."
>>>> In the two figures on this page, European characteristics show
>>>> several cross-over points, ranging from 300 Hz (Decca ffrr)
>>>> to 600 Hz for EMI 78 rpm. Note that there is no pre-emphasis at all
>>>> for the EMI discs, which are 'flat' up to 10 Khz.
>>>> American 78s, however, show a boost of ca. 12 db at 10 KHz ...
>>>> Mike Gray
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