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Old 30th May 2011, 02:50 PM   #131
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Guys, at what point does the sound that a particular labels production team was trying to achieve and “equalization” begin to blur together a little? After all I don’t find a couple of dB of bass boost or cut out of the realm of personal taste or what a particular recording engineer/producer wanted. Most listening environments have plenty of +-2 dB bumps and grinds. In other words why treat any adjustments at recording time separate from at cutting time? How do you tell the difference?


The “secret” folklore stuff gets a little tiresome. It’s not much different than the retired Jaguar mechanic’s secret to cutting the damping fluid in SU carburetors as they age so you can actually keep two tuned for more than a couple of days.
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Old 30th May 2011, 10:02 PM   #132
jlsem is offline jlsem  United States
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Scott, on one hand we have the objective types claiming the importance of achievable tolerances of .25 dB and that it is sinful to tailor the equalization curve to taste, and on the other hand there are people like me who don't presume that all records are cut to any degree of accuracy and an adjustment to the EQ is a nice touch. It's been my experience that Eurodisc re-issues of Melodiya recordings are of better quality at the upper frequencies and I am simply trying to determine why.

John
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Old 30th May 2011, 10:21 PM   #133
piano3 is offline piano3  United Kingdom
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A friend of mine who after graduating in physics immediately started working in recording was at some pains to point out to me when I asked for his advice that EQ was always,in practise, something of an approximation.
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Old 30th May 2011, 11:16 PM   #134
dimitri is offline dimitri  United States
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Can anybody share official information about Eurodisc reissues of Melodiya records? Is it vinyl? CD? Hi-res? I've never heard about it. Thank you in advance.
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Old 30th May 2011, 11:23 PM   #135
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Quote:
Originally Posted by jlsem View Post
Scott, on one hand we have the objective types claiming the importance of achievable tolerances of .25 dB and that it is sinful to tailor the equalization curve to taste, and on the other hand there are people like me who don't presume that all records are cut to any degree of accuracy and an adjustment to the EQ is a nice touch. It's been my experience that Eurodisc re-issues of Melodiya recordings are of better quality at the upper frequencies and I am simply trying to determine why.

John
What makes sense to me is a total EQ from venue to LP that depended on lable or production team. From what I see here there is nothing worth disavowing knowledege of.

As an aside, with a basic analog RIAA as a starting point, these all coiuld be done (as well as any tweak in between) with an IIR or FIR filter with none of the usual dynamic range complaints applying. At this price a nice feature would be a final QC firmware update that balanced and calibrated both channels against all component mis-match (the test sample appeared to have ~2% channel imbalance).
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Old 31st May 2011, 01:20 AM   #136
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I mention the digital stuff because AMR seems to think an A/D feeding your computer audio setup (via USB no less) is perfectly OK.
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Old 31st May 2011, 01:23 AM   #137
jlsem is offline jlsem  United States
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It's obvious to me that you would want to maintain a fairly accurate (1 dB) filter for lps that are known to be high quality productions. It may seem like using anything other than the RIAA standard is a bit obscure, but if you are at all interested in classical performance, using the correct correction for Warsaw Pact recordings is worthwhile because there are so many great ones out there. I mean, who wants to listen to Fritz Reiner or Artur Rubinstein (OMG) all of the time?

Click the image to open in full size.

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Old 31st May 2011, 01:32 AM   #138
jlsem is offline jlsem  United States
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Quote:
Originally Posted by dimitri View Post
Can anybody share official information about Eurodisc reissues of Melodiya records? Is it vinyl? CD? Hi-res? I've never heard about it. Thank you in advance.
Vinyl and CDs. I don't know if they are still a going concern, though. It seems like that were most active during the 'eighties.

John
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Old 31st May 2011, 04:58 AM   #139
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Scott,

Quote:
Originally Posted by scott wurcer View Post
What makes sense to me is a total EQ from venue to LP that depended on lable or production team.
Funnily enough, that generally does not quite appears to be the case based on the records in my own collection. It seems mostly a question of "who cut it.

Quote:
Originally Posted by scott wurcer View Post
As an aside, with a basic analog RIAA as a starting point, these all coiuld be done (as well as any tweak in between) with an IIR or FIR filter with none of the usual dynamic range complaints applying.
I used to do that with a separate digital EQ. HOWEVER, this presumes that we first A2D convert the LP Signal, and the re-convert D2A and out. This is something most of the potential customers for a PH-77 will not stand for.

Given that it is not particularly difficult to accommodate additional, switched time constants in a split RIAA EQ design we elected to do it that way...

Quote:
Originally Posted by scott wurcer View Post
At this price a nice feature would be a final QC firmware update that balanced and calibrated both channels against all component mis-match (the test sample appeared to have ~2% channel imbalance).
The channel imbalance comes from the tubes. The PH-77 has three stages, one discrete solid state two tube, all open loop, no feedback (not even local degeneration). In the light of this and the fact that very few cartridges have better than +/-1dB channel balance (and lets not talk about speakers channel matching, especially not in room response) I am not unduly worried about 0.35dB channel imbalance. I'd be more worried if one channel has a severe difference in frequency response from the other.

Quote:
Originally Posted by scott wurcer View Post
I mention the digital stuff because AMR seems to think an A/D feeding your computer audio setup (via USB no less) is perfectly OK.
AMR is a 21st century company. We have USB Inputs on our CD-Players (and upcoming DAC), so it is natural to include an A2D.

Plus, designing in the A2D into the preamp allows us to dispose of a lot of potentially sound degrading circuitry that commonly sits in front of any AD converter chip. This way it is possible to generate archival copies at very high quality.

Don't worry about the connection being USB, we use decent hardware with competent implementation, jitter is much lower than what SPDIF can manage.

Ciao T
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Old 31st May 2011, 04:59 AM   #140
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Hi,

Quote:
Originally Posted by jlsem View Post
Vinyl and CDs. I don't know if they are still a going concern, though. It seems like that were most active during the 'eighties.
Shame, Melodya had a decent archive of unique performances on pretty high grade masters, perfect fodder for transfers to 24/96 to be available as downloads...

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