Playback equalization for 78 rpm shellacs and early 33⅓ LPs
The audio on almost every phonograph record is not the same as that originally performed. For technical reasons the signal's frequencies need to be modified when cutting the disc. 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.
Usage
The most relevant EQ curves are presented as Table 1:
You can download some of them from the EQ Curves Library section of this page, convert them to a TXT file with EQ XML to TXT Converter and import them into Audacity using or
You can generate any curve yourself with the 78 rpm EQ Curve Generator plugin
You can set the sliders of any digital or analog graphic equalizer manually
You can determine appropriate settings for any adjustable analog pre-amplifier.
Which EQ curve will be needed for a specific record label is answered:
Using EQ curves in Audacity
Once converted to txt, you can import the curve in the Filter Curve EQ or Graphic EQ effects, by clicking Presets & settings -> Import....
Equalization (EQ) Curves explained
When phonograph records are made, the sound being recorded is deliberately distorted by reducing the volume of the low frequencies and increasing the volume of the high frequencies. 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.
On playback, the pre-emphasis must be reversed in order to restore the original sound. This is known as 'de-emphasis' or equalization (EQ).
Modern vinyl records use a method of pre-emphasis and de-emphasis adopted by the Recording Industry Association of America (RIAA) in the 1950's, and the EQ curve used is known as the RIAA curve. However, before the RIAA curve was adopted, each record label used its own EQ curve for recording and, for these records (78rpm and early vinyl), the correct EQ curve must be used for playback.
Each EQ curve is a combination of two filter characteristics; a bass boost curve, defined by a 'Bass Turnover' (or 3dB) frequency, and a treble cut curve, defined by a '10 kHz Gain Roll-off' parameter, i.e. a defined level of treble cut at 10 kHz.
As an example, Figure 1 below shows the characteristic of the bass boost curve defined by a 500Hz Bass Turnover, and Figure 2 shows the characteristic of the treble cut curve defined by a 10 kHz Gain Roll-off of -13.7dB. These two curves, when combined, give the characteristic shown in Figure 3.\
The EQ curve may also include a Low Frequency Shelving filter, (although it is absent from the definition of most 78 rpm EQ curves). This addition reduces the effect of the bass boost at very low frequencies (typically 50 or 100 Hz) in order to attenuate low-frequency noise such as turntable rumble. Figure 4 shows the effect of a 50 Hz LF shelving filter being added to the curve in Figure 3. This is in fact the RIAA standard EQ curve.
Acoustically recorded (pre-electric) 78 rpm records have a completely different characteristic because they were cut with a different type of cutter (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 – i.e. the 10 kHz gain roll-off is zero.
Note that in the combined EQ curve, the gains at the Bass Turnover frequency and at 10 kHz may be different from those specified by the parameters. 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.
Because 78 rpm EQ curves were non-standard and, in many cases, accurate records were not kept to show what EQ curves were used when recording 78s, there is a degree of uncertainty about what is the correct playback EQ for many record labels. 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!
According to NAB standards, the nominal speed of a 78 rpm record is precisely 78.26 rpm +/- 0.3% (for North America and other countries with an utility frequency of 60 Hz). According to British Standards Institution it is 77.92 rpm +/- 0.5% (for Britain, Europe and other countries with a mains frequency of 50 Hz).
EQ Curves
Pre-equalization of most records – especially of shellacs – was always determined by the cutter head used and often by internal regulations of the record company. Both left quite some room for the recording engineer to make changes to improve the sound. Also if Graumann uses 250 Hz in playback of an EMI disc and Copeland votes for 300 Hz this is not a contradiction. Both mean the same EQ curve but have different opinions on what sounds best. This should encourage you to try both versions and take the one which sounds right to your ears.
Please do not worry about fractions of a dB! Still in the 1960s an accuracy of a curve of +/- 2 dB was considered to be standard. In the 1950s +/- 3 dB were a very fine result and nobody will ever know if recording engineers in the 1940s or 1930s applied their curves correctly (or if they applied them at all!) So the spread in pre-equalization during recording will outnumber any bias in playback equalization by far.
Table of EQ Curves
The most relevant EQ curves are presented in Table 1. All curves are described from the point of view of a playback or de-emphasis curve, where bass / low frequencies must be amplified / boosted and where treble / high frequencies must be attenuated / cut in order to achieve the original sound that had been recorded. The corresponding pre-emphasis curve used for cutting the master disk is inverse.
When comparing with lists provided by the manufacturers of equalizer pre-amps it should be considered that those may be misleading, as they might not quote the correct parameters of the curve but rather the next-best possible settings of these devices. For example the Conductart OWL 1 Sound Restoration Module – a renowned pre-amp of the 1980s – offered settings of flat/ 250/ 375/ 500/ 750/ 1000/ RIAA for turnover and flat/ 5/ 8.5/ 12/ 14/ 16/ RIAA for roll-off. Thus for the widely used standard “AES 400N-12” settings of 375 Hz and -12 dB were listed; for the “Bartok 629C-16” curve it was 750 Hz and -16 dB and for “LONDON LP 500C-10.5” it was 500 Hz and -8.5 dB. These recommendations were quoted or copied by other authors and three “new characteristics” had come to existence.
Table 1 gives the three parameters to characterize any EQ curve: the turnover frequency f1 for bass shelf, f2 for bass boost and f3 for treble cut (or alternatively the three corresponding time constants τ1, τ2 and τ3). These are the necessary conditions to compute and plot any EQ curve, determine the correct settings of a digital equalizer or to solder an electronic filter circuit.
The gain at two typical frequencies will give you a rough impression of what the curve does to the audio from the record. The frequencies are:
50 Hz, where usually the bass shelf becomes effective
10 kHz, because the treble curve is often indicated by roll-off at 10,000 Hz
The very descriptive “code” is a good tool to avoid misunderstanding when EQ curves come under various alias names (what they do too often).
The first 3-digit number indicates the turnover frequency of bass boost (f2)
The letter in the middle is N … (“None”) if no bass shelving is applied, or R … 20 dB (named R after RCA or RIAA) B … 18 dB A … 16 dB C … 14 dB (named C after Columbia LP curve) X … 12 dB
The last number shows the reduction or roll-off of treble at 10 kHz and is always preceded by a minus sign. Please mind that this is only a code and that the exact value – after normalization to 0 dB at 1000 Hz – might be different.
This code can be used to find the correct settings of most equalizer pre-amps.
(Example: “RIAA 500R-13.7” means for the RIAA curve that bass must be boosted below 500 Hz, but no more than + 20 dB and that treble must be cut at 10,000 Hz to – 13.7 dB)
The geographic region and the time period are added to allow a qualified guess for the required EQ should a record label not be listed. In general, American recording curves were more deliberate in cutting bass and boosting treble. The British and Europeans tended to apply only the necessary minimum of bass attenuation and often no treble boost at all, that means they had a “flat” treble curve. Early pre-emphasis curves were simply built and rather soft. In the late years (after 1945) curves became highly sophisticated, with the third turnover frequency f1 added to manage the bass shelving and also with gain ranging from -20 dB to + 20dB.
Table 1: Playback Equalization Curves
τ1 [μs]
τ2 [μs]
τ3 [μs]
f1 [Hz]
f2 [Hz]
f3 [Hz]
[dB]
@ 50Hz [dB]
@10kHz [dB]
Normal Groove, 78 rpm
Eur., Brit.
1926 - 1946
"European 78", Old Europ.,250,EMI 78
636
250 [5]
+ 14,4
0 (flat)
250N-0
Eur., Brit.
1927 - 1946
"Blumlein 300"
531
300 [5]
+ 16
0 (flat)
300N-0
Brit., Amer.
1926 - 1950
"500-FLAT", Blumlein500, Europ.500
318
500
+ 19
0 (flat)
500N-0
America
1926 - 1951
"American 78"
636
250
5900*
+ 14
- 6
250N-6
America
1926 - 1951
"American 78"
636
250
4400*
+ 14
- 8
250N-8
Amer.(CBS)
1938 - 1948
"Columbia 78"
530
100
300
1592
+ 16,7
- 15,0
300N-16
Amer.(RCA)
1941 - 1947
"Old RCA" [4]
199
36,7
800
4340
+ 22,2
-9,9
800N-8
Eur., Brit.
1944 - 1956
"DECCA 78", FFRR 78, London ffrr 78
531
25
300 [5]
6366
+ 15,4
- 5,7
300N-5.5
Germany
1952 - 1955
"CCIR 78", Recomm. No.134 (1953) [1]
450
50
354
3183
+ 17,0
- 10,5
350N-10.5
Eur., Brit.
1955 - end
"IEC N78" = "B.S.1928" for N78 only
3180
450
50
50
354
3183
+ 16
+ 14,0
- 10,5
350A-10.5
Microgroove, 33⅓ and 45 rpm
America
1942 - 1949
NAB (broadcast transcriptions, 1942)
318
100
500
1592
+ 20,5
- 15,6
500N-16
America
6/1948 - 1956
"Columbia LP", Col. M33, "LP" [3]
1590
318
100
100
500
1592
+ 14,5
+ 13,6
- 15,5
500C-16
America
4/1949 - 1958
"NAB", NARTB (standard 1949) [3]
3180
318
100
50
500
1592
+ 20
+ 17,5
- 15,6
500"B"-16
America
1/1951 - 1958
"AES" (standard 1951)
398
63,7
400
2500
+ 18,1
- 12,3
400N-12.3
Amer.(RCA)
1947 - 8/1952
"RCA 45" (45 rpm) [6]
200
75
796
2122
+ 22,6
- 13.7
800N-13.7
Amer.(RCA)
1947 - 8/1952
"RCA Old Orthophonic" (33⅓ LPs) [6]
318
75
500
2122
+ 19,7
- 13.7
500N-13.7
Amer.(RCA)
8/1952 - pres.
"RCA New Orthophonic"
3180
318
75
50,05
500,5
2122
+ 19,5
+ 16,9
- 13,7
500R-13.7
Amer. (all)
ca.1956 - pres.
= "RIAA" (US-standard since 1955)
Europe
ca.1962 - pres.
= IEC No.98 (1955) = B.S.1928 (1955)
Amer., Brit.
1949 - 1956
"LONDON LP" [2]
1590
318
50
100
500
3183
+ 13,8
+ 12,5
- 10,9
500C-10.5
Germany
1955 - 1962(?)
TELDEC (as proposed 1957 for DIN)
3180
318
50
50
500
3183
+ 19,3
+ 16,5
- 10,9
500R-11
78 rpm EQ Curve Generator
EQ Curves for Audacity can be generated from these Frequency and Roll-off values using the experimental Nyquist plugin "78 RPM EQ Curve Generator". This plugin is obtainable from the top of this Forum topic and requires Audacity 1.3.13 or later. Please give feedback on this plug-in, or ask for help if you need it, by replying to that Forum topic.
Extract 78EQCurveGen.ny from the zip file downloaded from the above Forum topic.
Place 78EQCurveGen.ny in the "Plug-Ins" folder inside the Audacity installation folder, then launch or restart Audacity. For more help installing the .ny file to the correct location, click here.
Click . You can find help inside the plugin by choosing one of the Help options in "Select Function or Help".
Choose the curve you want from one of the lists.
Enter the values for your chosen curve for
"Bass Turnover Frequency (Hz)"
"10 kHz Gain Roll-off (dB)"
"LF Shelving Frequency (Hz)" (if a value is given)
in the equivalent boxes in the plugin dialog.
Click "OK" in the plugin to save the .xml file to your chosen location.
Use the EQ XML to TXT Converter Tool to convert your XML file to a TXT text file (suitable for Audacity 2.4.0 and later)
Select some audio and choose .
Choose "Manage".
Choose "Import...", navigate to the location where you saved the .txt file.
Click "Open".
EQ Curves Library
Here you can find some useful EQ curves for download to Audacity for use in Effect -> EQ and Filters -> Graphic EQ and Filter Curve EQ. (Curves are in TXT file format, as required in current Audacity and compatible down to version 2.4.0).
78 rpm shellacs
pre-RIAA 33⅓ LPs
Individual fine tuning
In some cases it will be not enough to apply the correct EQ to get the desired result. According to the condition of the record and to personal listening preferences you might consider one of the following methods:
The 250-or-300-Hz dilemma: To use “European250” or “Blumlein300” EQ seems to be not a question of right or wrong but of personal listening preferences. In general, Continental European authors prefer 250 Hz (derived from the original Western Electric recommendation) for Decca (Brit. and Europ.), Brunswick, Cetra, Columbia (Brit.), EMI-HMV and Parlophone. Englishman Copeland favors 300 Hz (derived from the recording characteristic of the Blumlein cutter) for British EMI, His Master’s Voice and Columbia and also for Odeon. Copeland puts it like this: “[…] but when I’m not sure I use 300 Hz.” [Copeland, Manual, p 129]. Being derived from the previous 250-or-300-Hz curve the same applies to “DECCA78” which was used from 1944 for shellacs with the ffrr system. So you should also feel free to decide the 250-or-300-Hz question according to your own listening preference: 300 Hz will give an extra amplification of bass in play back (ca 1.5 dB at 50 Hz).
To remove low frequency noise Robinson (MidiMagic) recommends a low cut filter at 100 Hz with just 6 dB/octave. (Especially for many acoustic recordings which have only noise below 150 Hz or for the “long-playing” shellacs of RCA Victor of 1931/32). This filter will do exactly the same as the “C”-type bass shelf of Columbia LP curve.
Vadlyd uses a variable low cut filter for American Victor, early British Decca, EMI, His Master’s Voice and Columbia at frequencies between 40 and 70 Hz. This is very similar to the recommendation of Phonomuseum.org. In Audacity you can experiment with different settings for “Frequency” and “Roll-off” in Effect -> High Pass Filter (a different word for Low Cut Filter) and listen to the result with “Preview”.
All bass shelf settings on analog equalizers (R-B-A-C-X) can also be used to remove low frequency noise (especially from acoustics and early shellacs). This is why the extra positions X and A were provided [MidiMagic]
A known trick of recording engineers was to increase bass t/o frequency on very long recordings. Thus bass attenuation was increased and bass amplitude and necessary groove width were reduced. So the given duration of the audio could be squeezed into the given space on the disc. If a disc is filled with grooves as can be a higher bass turnover frequency can be necessary to restore the original sound. Example: Colosseum [ES]
To improve the weak bass on some 45s (especially on EPs – Extended Play) Esoteric Sound uses a higher turnover frequency for bass in replay than in pre-equalization. For example 700 Hz instead of the “correct” 500 Hz. This will give a smooth, extra bass amplification of roughly 4 dB at 50 Hz.
To reduce surface noise of early American Columbia, Victor and RCA-Victor iasa recommends an additional high cut (= low pass) filter set to 5500 or 5200 Hz with 6 dB/octave. This will reduce treble by 3 dB at around 5000 Hz and by 9 dB at 10000 Hz – and hopefully most of the noise.
Remarks for Analog Purists
Hiss and high frequency scratch due to old worn records: When digitizing such recordings Audacity’s will do a good job to improve the sound once and for all. Those who prefer entirely analog replay with an adjustable pre-amplifier will have the opportunity to improve the sound every time they replay. They can cut / attenuate the frequency range most affected by the noise. A higher value for roll-off at 10 kHz than the “correct” EQ will usually give a better result than a simple treble filter – but: at the expense of the high frequencies of the audio itself.
Dull, lifeless sound: If you improve poor bass on discs of any speed by choosing a higher bass turnover frequency than the “correct” EQ, there will be the welcome side effect of moderately amplifying midrange frequencies. This will bring life to the core octaves of a piece of music by improving instrument and vocal characteristics.
Acoustic recordings and Broadcast Transcription Discs
Acoustic recordings (before 1926) are beyond the scope of this page. In these pioneer years speeds varied from 70 to 90 rpm, groove modulation could be lateral, vertical or diagonal and some records were even cut outward with the audio starting at the center. A special turntable and a range of styli / needles are needed to replay.
All acoustics were recorded without any pre-equalization, simply because a modification of the audio was impossible before electric microphones and amplifiers came into use. Nonetheless there are conflicting opinions as to the result:
According to various authors the acoustical recording process had an "inherent mechanical equalization", which results – within the limited frequency range of approx. 150 to 4000 Hz – in a constant velocity characteristic one would only expect from a magnetic cutter. With a magnetic cartridge this would command to be replayed “flat”. Please note that the acoustical recording characteristic is not equalized at all.
According to Robinson an acoustical recording must have a constant-amplitude characteristic which will be correctly reproduced by playing back with a gramophone needle or a piezoelectric crystal pickup. A magnetic cartridge will – by its constant velocity characteristic – double the amplitude whenever the frequency doubles. To compensate for the magnetic pickup MidiMagic recommends an “800N-16” EQ curve, which comes close to the theoretical characteristic of a constant velocity device. Some more information is here on record labels and on technical background. Please note that the acoustical recording characteristic is not equalized at all.
Kolkowski’s results of a reenactment of an acoustic recording session show that bass needs heavy equalization if the losses in the recording horn (here below 400 Hz) shall be compensated for. Parametric equalization may be used at resonant frequencies. Treble should be amplified (!) to compensate for the high-frequency roll-off of the recorder. Due to the individual properties (defects) of recording horns and recorders there will be no “general characteristic” of acoustics and therefore no general EQ.
MidiMagic gives useful information on vintage labels as Edison, Berliner, Pathé or Zonophone and playback EQ recommendations.
Scientific help regarding valuable historic recordings can be found at IASA (International Association of Sound and Audiovisual Archives) and at ARSC (Association for Recorded Sound Collections).
Broadcast Transcription Discs are not in the focus of this page either. Those were recordable lacquer discs, mostly 16 inch in diameter, played at 33⅓ or 78 rpm. They were professionally used by radio broadcasters. Some more information is in this PDF.
In America many of these discs were recorded under the standard of the National Association of Broadcasters (NAB) of 1942. The very same recording curve had been used by NBC under the name “Orthacoustic” since mid 1930s. This “NAB Transcription (1942)” playback EQ setting can be downloaded here.
The British Broadcasting Corporation (BBC) used a rather exotic curve as a house standard. The version in use after 1949 has been reconstructed from Longford-Smith’s publication of 1952 as an Audacity EQ setting “BBC Transcription (1949)” and can be downloaded here.
78 rpm shellac labels and their EQ
This page is about electrical recordings since 1925 on 78 rpm discs made of shellac! The invention of the Electrical Recording System by Bell Laboratories / Western Electric which was licensed to industry leaders Columbia Records and Victor set some de-facto standards: speed is always 78 rpm, cut is always lateral (same as later mono LPs) and the groove type is always Normal Groove (also named coarse groove). Therefore shellacs are sometimes referred to as N78 (which stands for normal groove discs, played at 78 rpm).
A turntable capable of 78 rpm will be useful. You will need a MONO stylus with 2.5 mil (64 μm), for early electricals possibly one with 3 mil (76 μm) and this Audacity Wiki!
It is assumed that you replay your discs “flat” (without any analog de-equalization) and apply the necessary EQ after digitizing with Audacity . If it is necessary to play the record through a system that applies modern RIAA equalization, select the "RIAA" curve in Audacity's Filter Curve EQ effect and use the Invert button to invert and thus remove the incorrect RIAA equalization before applying the appropriate equalization to the recording.
In case sources did not agree on one EQ curve, their different opinions are listed and you will have to trust your ears.
Table 2: 78 rpm Shellac Labels and Their EQ
_Electrical 78's (general)
1925-1938
300
0
ES
_Electrical 78's (general)
1932-1938, mid 30s
500-FLAT
500N-0
500
0
ia,ES,JP,RF
_Electrical 78's (general)
1938-1946
300 or 500
0 or -5
ES
_Electrical 78's (general)
1947-1954
300 or 500
-16
ES
Aco
1926 - 1933, British, with M in a circle
BBC 2dB/oct.
PC
Aeolian-Vocalion
1926 - 1933, British, with M in a circle
BBC 2dB/oct.
PC
ARC
American Record Corporation = Cameo + Pathé + Plaza Group; 1929 - 1930
500
0 or -5
PC,JP
ARC
American Record Corporation; 1930 - 1939 (some early also 500-5)
500
-8.5
JP
Argo
American 78
250N-6
250
-6
mm
Ariel
1925 - 1931, British, with Δ after matrix no. or with W in a circle
[W.E.]
250
W.E.mike
PC
Artist
500
-16
ES
Audiophile
1952 - 1955, 78 rpm microgroove (!) records, up to AP-30; may also be replayed with "flat" treble
Audiophile78
300N-8
300
-8
RH,Mc,AT
Autograph
Marsh Laboratories, ca. 1924 - 1926
1000
0
ES,JP
Banner
1926 - 1929, an ARC label from 1929
500
0
JP
Balkan
500
-5
ES
Beltona
1926 - 1933, from cat. 1194 to 1282, with M in a circle
BBC 2dB/oct.
PC
Beltona
1944 - 1955, ffrr, prod. by Decca UK,
Decca 78
300N-5.5
300
-5,7
PC
Bluebird
sublabel of RCA, see: RCA-Victor
Bluebird
1925 - 1931, with VE in an oval or "Orthophonic Recording" or with Δ after matrix no. (recorded in Europe)
[W.E.]
250
W.E.mike
PC
Broadcast (American)
American 78
250N-6
250
-6
mm
Broadcast (American)
1940s
500
-12
JP
Broadcast (British)
1926 - 1933, with M in a circle
BBC 2dB/oct.
PC
Brunswick (American)
1925 - 1930
500-FLAT
500N-0
500
0
ia,JP,RF,PC
Brunswick (American)
1929 - 1935, an ARC label from Dec 1931 to 1940
500
-5
JP
Brunswick (American)
1935 - 1939
500
-8.5
JP
Brunswick (American)
1946 - 1951 or 1954, a Decca (Amer.) label since 1941
630N-?
629
-8 or -12
ES,mm
Brunswick (British)
1925 - 1944, a Decca label since 1932; see: Decca (Brit.)
European 78
250N-0
250
0
ES,GH
Cameo
1926 - 1929, probably W.E.; an ARC label from 1929
[W.E.]
250
0/W.E.
JP
Capitol
earliest 78s
1000
PC
Capitol
1942 - 1953; Capitol founded in 1942; since 1954 => RIAA
Capitol [CAP]
400N-12.7
400
-12.7
ia,ES,mil,JP,Mc
Capitol
1942 - 1951
American 78
250N-8
250
-8
mm
Capitol
to 1954
800
-10
ES
Capitol / Capitol Cetra
1951-1955
Capitol [CAP]
400N-12.7
400
-12.7
mm
Capitol - Telefunken
500-FLAT
500N-0
500
0
ES,mil
Capitol (British)
1944 - 1955, "ffrr", prod. by Decca UK, matrix prefix DCAP
Decca 78
300N-5.5
300
-5,7
PC,JP
Cetra
founded 1930s by RAI, Italy
European 78
250N-0
250
0
GH
Cetra-Soria
founded 1949, Cetra prod. in US
European 78
250N-0
250
0
mm
Chappell
1931 - 1944, British, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Coliseum
1926 - 1933, British, with M in a circle
BBC 2dB/oct.
PC
Columbia (American)
1925 - 1931 (some -1934)
[W.E.]
200 - 250
-5 / W.E.
AT,ES,mil,ia,JP
Columbia (American)
1931 - 1937
American 78
250N-8
250
-8
AT,mm,JP
Columbia (American)
1939 - 1956; "Columbia Rec." a CBS label since 1938; from 1955 change to RIAA
Columbia 78
300N-16
300
-16
ia,GH,ES,mil,mm, JP,Mc,AT
Columbia (British)
1925 - 1931, with W in a circle
[W.E.]
250
W.E.mike
PC
Columbia (British)
1931 - 1953, an EMI UK label from 1931
European 78
250N-0
250
0
ia,GH,ES,JP,RF
Columbia (British)
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Columbia (British)
1932 - 1949, with W in a circle or matrix prefix W (US COL/OKeh reissues)
500-FLAT
500
0, later -12
PC
Columbia (British)
1949 - 7/1953, EMI UK, matrix nos. from CA22600 to CA22610, and at CAX11932
500-FLAT
500N-0
500
0
PC
Concert Hall
500
-5
ES
Coral
1948 - 1954
629
-12
ES
Coral
1948 - 1953, sublabel of Decca US; from 1953 => RIAA
AES
400N-12.3
400
-12.3
JP
Decca (American)
1934 - 1937, (Decca US established in 1934)
American 78
250N-8
250
-8.5
JP
Decca (American)
1937 - 1946 ca
AES
400N-12.3
400
-12.3
ia,JP,RF
Decca (American)
pre 1946, imports from Britain?
Blumlein300
300N-0
300
0
ES
Decca (American)
very few, to try a combination of 500Hz / 6300 Hz
500N-5.5
500
-5,5
mm
Decca (American)
1946 - 1951, if labeled "ffrr"
Decca 78
300N-5.5
300
-5,7
mm
Decca (American)
1946 - 1954 (??? 629 Hz ???)
629
-12
ES
Decca (American)
1951 - 1953, from 1953 => RIAA
AES
400N-12.3
400
-12.3
mm
Decca (British)
1929 - 1944
European 78
250N-0
250
0
ES,mm
Decca (British)
1935 - 1944, matrix up to DR8485-2; test disc: Decca EXP55 or Z718
Blumlein300
300N-0
300
0
PC
Decca (British)
1944 - 1955, ffrr, cat. nos. from F.8440, K.1032, M.569 and X.281 (some exceptions); matrix nos. 8486 to 18000; test disc: Decca K.1802, London T.4996
Decca 78
300N-5.5
300
-5,7
PC,ES,mm,JP
Decca (British)
some 1949-1956
London LP
500C-10.5
500
C
-10,5
mm
Decca (European)
to 1944
European 78
250N-0
250
0
mm
Decca (European)
1944-1950
Decca 78
300N-5.5
300
-5,7
ES,mm
Decca (European)
1950-1954, (Telefunken + Decca UK = TELDEC since 1950)
Telefunken
400N-0
400
0
mm
Decca (European)
some 1954-1962
CCIR 78
350N-10.5
354
-10,5
mm
Deutsche Grammophon
alias "DGG", taken over by Telefunken 1937
300
-5
ES,mil
Deutsche Grammophon
1944 ca. - 1953 ca. (???)
European 78
250N-0
250
0
PC
Dial
78s used same EQ as 33⅓ and 45s
Columbia LP
500C-16
500
C
-16
ES,mil
Domino
1926 - 1929, an ARC label from 1929
500
-5
JP
Dot
to 1958
AES
400N-12.3
400
-12.3
mm
Electrola
800
-10
ES,mil
EMI-HMV (British)
some, re-releases of acoustics mastered 1909-1926
800N-12
800
-12
mm
EMI-HMV (British)
1927 - 1953
European 78
250N-0
250
0
GH,ES,mil,mm
EMI-HMV (British)
1931 - 1944, with □ after matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
EMI-HMV (British)
1931 - 1949, with ◊ after matrix no.
500-FLAT
500
0, later -12
PC
EMI-HMV (British)
1931 - 1953, (test disc HMV DB4037)
European 78
250N-0
250
0
ia,ES,mil,JP,PC
EMI-HMV (British)
11/1943 - 7/1953, matrix nos. from 2EA17501 to 0EA17576
European 78
250N-0
250
0
PC
EMI-HMV (British)
1955 - end, test disc: EMI JGS812, BBC DOM86
CCIR 78
350N-10.5
354
-10,5
PC
Exclusive
1944 - 1949
Decca 78
300N-5.5
300
-5,7
mm
Gramophone Company
1925 - 1931 UK, with Δ after matrix no.
[W.E.]
250
W.E.mike
PC
Gramophone Company
Blumlein300
300N-0
300
0
ES,mil
Harmony
1929 - 1931
250
-5
JP
His Master's Voice (Brit.)
some, re-releases of acoustics mastered 1909-1926
800N-12
800
-12
mm
His Master's Voice (Brit.)
1925 - 1931 British, with Δ after matrix no.
[W.E.]
250
W.E.mike
PC
His Master's Voice (Brit.)
1931 - 1953, prod. by EMI(UK)
European 78
250N-0
250
0
ia,GH,mm,JP,RF
His Master's Voice (Brit.)
1932 - 1949, with ◊ after matrix no.
500-FLAT
500
0, later -12
PC
His Master's Voice (Brit.)
11/1943 - 7/1953, EMI UK, matrix nos. from 2EA17501 to 0EA17576
500-FLAT
500N-0
500
0
PC
Hispanophone
1926 - 1931 , with Δ after matrix no.
[W.E.]
250
W.E.mike
PC
Hit of the Week
1930 - 1932
500
-5 or -8.5
ES,mil,JP
Homochord
1926 - 1928, matrix no. HH, JJ, HR, JR, Ee (made by Gramophone Co.)
[W.E.]
250
W.E.mike
PC
Hugophone
1925 - 1931, with W in a circle
[W.E.]
250
W.E.mike
PC
Hugophone
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Jewel
1926 - 1929, an ARC label from 1929
500-FLAT
500N-0
500
0
JP
Keynote
500-FLAT
500N-0
500
0
ES
Keynote
1940s
500
-12
JP
King
1946 - 1953, since 1953 => RIAA
500
-8.5 or -16
ES,mil,JP
Lincoln
sublabel of Cameo, 1926 - 1929, probably W.E.
[W.E.]
250
-5 / W.E.
JP
Linguaphone
1926 - 1933, with M in a circle
BBC 2dB/oct.
PC
Linguaphone
Blumlein300
300N-0
300
0
ES,mil
L'Oiseau-Lyre
1944 - 1955, ffrr, prod. by Decca UK,
Decca 78
300N-5.5
300
-5,7
PC
London
1948 - 1955, ffrr, prod. by Decca UK,
Decca 78
300N-5.5
300
-5,7
PC,mil,JP
MacGregor
1930 - 1950s, a Hollywood recording studio; produced by Brunswick, ARC, Capitol,...; various EQs (250-5, 250-8, 400-12.7, 500-12)
mm,JP,AT
Majestic
1942 - 1948
500
-16
ES,JP
Marsh Laboratories
(electrical)
1000
0
ES
Melotone
1931 - 1938, a Brunswick budget label; see Brunswick (Amer.)
Mercury
1945 - 1953; approx. to matrix YB9700; since late 1953 => RIAA
AES
400N-12.3
400
-12.3
ia,ES,mm,JP,Mc
MGM (American)
founded 1946; up to E3071
MGM [MGM]
500N-12
500
-12
ia,ES,mil,JP,RF
MGM (British)
1949 - 7/1953, matrix no. 0SM420
500-FLAT
500N-0
500
0
PC
Musicraft
??? RCA Old Ortho.???
700-800
-13.7
ES,mil
Musicraft
500
-8.5 or -12
JP
Nat. Gramophonic Soc.
1926 - 1933, with M in a circle, cat. HHH to TTT and NGS.65 to NGS.102
BBC 2dB/oct.
PC
Nixa
1950 - ?, Britain, shellacs produced by Decca UK
Decca 78
300N-5.5
300
-5.7
ris
Octacros
1931 - ?, Britain, a Synchrophone label
Blumlein300
300N-0
300
0
PC
Odeon
some early electricals
800
0
ES,mil
Odeon
1925 - 1928, with W in a circle (a Lindström label)
[W.E.]
250
W.E.mike
PC
Odeon
1928 - 1936, matrix with ₤ in a circle ( a Lindström label); bass shelf at 100Hz
400
C
0
PC
Odeon
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Odeon
to 1953, (1926 sub. of Brit. Columbia , 1931 sub. of EMI)
Blumlein300
300N-0
300
0
ES,mil
OKeh
1926 - 1935, a Columbia label since 1926
[W.E.]
250
-5 / W.E.
AT,JP,mm
OKeh
1931 - 1935, some; probably American78
American 78
250N-8
250-300
0 or -8.5
ES,mil
OKeh
1940 - 1945 and 1951 - 1955; since 1955 => RIAA
Columbia 78
300N-16
300
-16
AT,JP
Oriole
1926 - 1929, an ARC label from 1926
500
-5
JP
Parlophone (Amer.,Brit.)
1925 - 1931, with W in a circle
[W.E.]
250
-5 / W.E.
PC,JP
Parlophone (British)
1925 - 1953
European 78
250N-0
250
0
GH,ES
Parlophone (British)
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Parlophone (British)
1932 - 1949, with W in a circle or matrix prefix W (US COL/OKeh re-issues for UK)
500-FLAT
500
0, later -12
PC
Parlophone (British)
1949 - 7/1953, EMI UK, matrix nos. from CE14643 to CE14689
500-FLAT
500N-0
500
0
ia,PC,JP,RF
Parlophone-Odeon
1925 - 1928, Odeon in Brit.; with W in a circle
[W.E.]
250
W.E.mike
PC
Parlophone-Odeon
1928/29, Odeon in Brit.; matrix with ₤ in a circle, bass shelf at 100Hz
400
C
0
PC
Pathé (American)
1926 - 1929, probably W.E., some 500-5; an ARC label from 1929
[W.E.]
250
-5 / W.E.
JP
Pathé (French)
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Perfect
1926 - 1929, probably W.E., sublabel of Pathé (Amer.)
[W.E.]
250
-5 / W.E.
JP
Philips
to 1953
Philips
400N-6
400
-6
mm
Polydor
sub-label of Deutsche Grammophon
300
-10
ES,mil
Radiofunken
Telefunken
400N-0
400
0
mil
RCA Victor
12/1931 - 2/1932 "long-playing" shellacs, N-groove, played at 33⅓ rpm
≈Old Ortho.
500N-13.7
500 or up
-13.7
RM,PC
RCA Victor
1931 ca., test disc Victor 84522 without treble pre-emphasis
500-FLAT
500N-0
500-600
0
PC,ES
RCA Victor
1931 - 1938, used high cut at 5500 Hz [R-B]
≈Old Ortho.
500N-13.7
500 or up
-13.7
RM,PC
RCA Victor
1938 - 1947, used High Cut at 8500 Hz, [R-C]
Old Ortho.
500N-13.7
500
-13.7
RM,PC,ia,JP,ES, mil
RCA Victor
1941 - 1947 (some to 1952)
Old RCA
800N-8
800
-8
mm
RCA Victor
1947 - 1951 [R-D]
RCA 45
800N-13.7
800
-13.7
mm
RCA Victor
1947 - Aug 1952 [R-D]
Old Ortho.
500N-13.7
500
-13.7
RM,ia,mm,JP,RF
RCA Victor
since Aug 1952 => "New Orthophonic" = RIAA, from matrix E2RP4094
RIAA
500R-13.7
500
R
-13.7
RM,ES
RCA Victor (British)
1931 - ?, with swastika after matrix no., re-issued by EMI UK
European 78
250N-0
250
0
PC
RCA Victor (British)
1931 - 1944, with □ after matrix no., re-issued by EMI UK, [Bc]
Blumlein300
300N-0
300
0
PC
RCA Victor (European)
1930 - 1950
European 78
250N-0
250
0
ES
Regal (American)
1926 - 1929, an ARC label from 1929
500
-5
JP
Regal (British)
1925 - 1931, with W in a circle
[W.E.]
250
W.E.mike
PC
Regal Zonophone (Brit.)
budget label of EMI/Columbia
European 78
250N-0
250
0
ES,mil
Regal Zonophone (Brit.)
1925 - 1931 UK, with Δ after matrix no. or with W in a circle
[W.E.]
250
W.E.mike
PC
Regal Zonophone (Brit.)
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Regal Zonophone (Brit.)
1932 - 1949, with W in a circle or matrix prefix W (US COL/OKeh reissues for UK)
500-FLAT
500
0, later -12
PC
Regal Zonophone (Brit.)
1949 - 7/1953, matrix no. CAR6800
500-FLAT
500N-0
500
0
JP
Romeo
1926 - 1929, sublabel of Cameo; probably W.E.
[W.E.]
250
0 / W.E.
JP
Scala
1926 - 1933, with M in a circle
BBC 2dB/oct.
PC
Schirmer
1000
-24
mil
Supraphone
Czech, since 1932, a subsid.of Ultraphon
Telefunken
400N-0
400
0
ES,mil
Synchrophone
1931 - ?, Britain
Blumlein300
300N-0
300
0
PC
Technichord
American, all N78 from 1938 [TCH]
Technichord
800N-12
800
-12
ES,mil,mm
Telefunken
1944 - 1955, ffrr, prod. by Decca UK,
Decca 78
300N-5.5
300
-5,7
mm,PC
Telefunken
1951-1953, (Telefunken + Decca UK = TELDEC since 1950)
Telefunken
400N-0
400
0
mm
Tempo (American)
Tempo Record Co. of America, Hollywood, CA; ca 1947 - late 1950s
500
-12
JP
Tempo (American)
400N-6
400
-6
mm
Theme
sublabel of Tempo (Amer.)
500
-12
JP
Theme
all N78
American 78
250N-6
250
-6
mm
Turicaphon
Switzerland, 1930 - , a subsid.of Ultraphon
Telefunken
400N-0
400
0
Ultraphon
Europe 1929-1932, taken over by Telefunken
Telefunken
400N-0
400
0
ES,mil
Unison
1926 - 1933, with M in a circle
BBC 2dB/oct.
PC
Victor
1925 - 1931, Western Electric System
[W.E.]
200 - 300
0 to -7
ia,JP,ES,mil,mm
Victor
Victor was taken over by RCA in 1930; see: RCA-Victor
Victor / Victrola
1925 - 1931, with VE in an oval or "Orthophonic Recording" or with Δ after matrix no. (recorded in Europe)
[W.E.]
250
W.E.mike
PC
Vocalion (American)
a Brunswick label since 1924; see: Brunswick (Amer.)
Vocalion (British)
1926 - 1940; a Brunswick and since 1932 a Decca UK label
European 78
250N-0
250
0
ES,mil
Vocalion (British)
1926 - 1933, to cat. X10029 A.0269 and K05312, with M in a circle
BBC 2dB/oct.
PC
Vocalion (British)
1944 - 1955, "ffrr", prod. by Decca UK, including V1000 series
Decca 78
300N-5.5
300
-5,7
PC
Voice of the Stars
1931 - 1944, with © before matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Zonophone
1925 - 1931 UK, with Δ after matrix no.
[W.E.]
250
W.E.mike
PC
Zonophone
1931 - ?, with swastika after matrix no.
European 78
250N-0
250
0
PC
Zonophone
1931 - 1944, with □ after matrix no., [Bc]
Blumlein300
300N-0
300
0
PC
Early 33⅓ LP labels and their EQ
After the launch of the “long-playing record 33⅓ rpm” by Columbia in 1948 (which used vinyl discs and a narrower groove width – microgroove records or M33) record producers experimented a lot to fully exploit the potential of the new medium. Bass shelving came into use to limit the necessary bass boost in playback and – as a consequence of the extended frequency range – necessary gain reached values as high as +/- 20 dB. So recording characteristics varied considerably!
The “poor sound quality” of some early LPs is nowadays considered to be mostly a result of the wrong EQ in playback.
Standardization was reached with the “New Orthophonic” curve of RCA which was to become the world standard by the name of RIAA. In America most labels switched to RIAA around 1955 – Europe followed by 1962.
How to identify RIAA recordings:
“ORTHOphonic” or “New Orthophonic” (after August 1952), “NARTB” or “New NARTB” (after June 1953) or “New AES” (after 1954) indicate RIAA equalization.
The following labels should have used only RIAA all the time: Argo, Bethlehem, Classic Editions, Chess, Clef, Composer Recordings, McIntosh, Montilla, New Jazz, Norgram, Prestige, Romany, Roulette, Savoy, Vocalion and Walden [High Fidelity Magazine, MidiMagic].
A “HIFi+” sticker on American Columbias or the catalogue number written in an inverted triangle on German records (like Deutsche Grammophon) is a symbol for RIAA.
Later recordings on the labels listed below should all be RIAA.
In case that sources did not agree on one EQ curve, their different opinions are listed and you will have to trust your ears.
Table 3: Early 33⅓ LP Labels And Their EQ
Allegro
1948 - 1956
Columbia LP
500C-16
500
C
-16
ES
Allied
to 1958
NAB or Col.LP
500?-16
500
B/C
-16
JP,Hi,ES,mil,mm
American Recording Society
to matrix E2KP9607, mastered by RCA
Old Ortho. [R-D]
500N-13.7
500
N
13.7
ES,Mc
American Recording Society
to 1958
AES
400N-12.3
400
N
-12.3
Hi,mm,JP
Angel
(2XEA213-392/XAX561-817)(1N,2N)
500-FLAT
500N-0
500
N
0
ES
Angel
to 1952; to 35022
Old Ortho. [R-D]
500N-13.7
500
N
13.7
mil,mm,RF,Mc
Arizona
to Sept(?) 1955
Capitol [CAP]
400N-12.7
400
N
-12,7
Hi,ES,mil,mm,JP
Artist
NAB
500B-16
500
B
-16
GH,mil
Atlantic
to 1953, produced by MGM
NAB
500B-16
500
B
-16
ES,mil,mm,JP,Mc
Audio Fidelity
no. 901-903
NAB
500B-16
500
B
-16
ES,mm,JP,RF
Audiophile
1952 - 1976 (!); regular 33⅓ LPs up to AP-125; may also be replayed with "flat" treble; probably never used RIAA
Audiophile33
600N-10
600
N
-10.3
RH,AT
Bach Guild
sublabel of Vanguard; BG-501 to 529 (1950 to 52)
Columbia LP
500C-16
500
C
-16
GH,ES,Hk,Hi,AT
Banner
to 10002
Columbia LP
500C-16
500
C
-16
ES,mil,mm
Bartók
1952-1953
AES
400N-12.3
400
N
-12.3
mm
Bartók
no. 301-307, 309, 906-920
Bartok
630C-16
629
C
-16
ES,mil,mm,JP,Mc
Bartók
no. 308, 310-11, 901-05 and from 921
RIAA
500R-13.7
500
R
-13,7
Hi
Blue Note
to Sept(?) 1955, 33⅓ and 45s
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP, Hk,Mc
Bluebird
Bluebird Classic (BC), a sublabel of RCA, see: RCA-Victor
Boston
to 1958, up to B202
Columbia LP
500C-16
500
C
-16
Hi,ES,mil,mm,JP, RF
Brunswick
to matrix MG4400; with raised matrix**
Old RCA
800N-8
800
N
-8
ES
Brunswick
1951-1955
AES
400N-12.3
400
N
-12.3
mm
Caedmon (American)
founded 1952, TC1002 - TC1022 (1955)
Bartok
630N-16
629
N
-16
Hi,ES,mil,mm,JP
Caedmon (American)
629
-11 or -12
ES,Mc
Caedmon (British)
early LPs "made in England", from 1953
CCIR 78
350N-10.5
350
N
-10,5
PC
Canyon
to C6160
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP, Hk,Mc
Capitol / Capitol-Cetra
1949 - 1955 (sold to EMI-UK in 1955); 33⅓,
Capitol [CAP]
400N-12.7
400
N
-12,7
Hi,ES,mm,JP,RF, Hk,Mc
Capitol / Capitol-Cetra
1949 - 1954; 45 rpm
NAB
500B-16
500
B
-16
GH,mm
Capitol
to 1954, weak bass on 45 rpm can be improved (+ 4.5 dB) by 800 Hz t/o
500
-12
ES,Mc
Cetra-Soria
Am. releases of Cetra, 1948-1953 (Cetra-Soria sold to Capitol)
Columbia LP
500C-16
500
C
-16
Hi,GH,ES,mm,JP, RF
Colosseum
AES
400N-12.3
400
N
-12.3
ES,mil,RF,Mc
Colosseum
to Jan 1954
NAB
500B-16
500
B
-16
Hi,mm,JP,RF
Colosseum
some long operas
1000
-5
ES
Columbia (American)
1947-1955; to matrix ML4895, XLP3200
Columbia LP
500C-16
500
C
-16
Hi,GH,ES,mil,mm, JP,RF,Hk
Columbia (American)
1948 - 1953; 45 rpm
NAB
500B-16
500
B
-16
ES,mm,Mc
Columbia (American)
45 rpm
AES
400N-12.3
400
N
-12.3
JP
Columbia (American)
1955 - ; after matrix XLP3200 or with "HiFi+" sticker
RIAA
500R-13.7
500
R
-13.7
ES
Columbia (British)
1949 - 7/1953, matrix nos. LPs: from XA561 to XAX817; XRX12; EPs: 7TCA 7, 7TCO 6; SPs: 7XCA185, 7XCO 87
500-FLAT
500N-0
500
N
0
PC,ES
Concert Hall (American)
most! 1948-1954, XTV matrix to 20383 (low take nos) produced by COL
Columbia LP
500C-16
500
C
-16
Hi,ES,mm,JP,RF
Concert Hall
E0 matrix, mastered by RCA, ca. 1950/51
Old RCA
800N-8
800
N
-8
ES
Concert Hall
E1KP/E2KP matrix, mastered by RCA, ca. 1951/53
Old Ortho. [R-D]
500N-13.7
500
N
13.7
ES
Concert Hall
marked AES,
AES
400N-12.3
400
N
-12.3
mil,mm,RF,Mc
Concert Hall
CH matrix?
500
-10
ES
Concert Hall
matrix E2RP from 4095 / E2KP from 9607
RIAA
500R-13.7
500
R
-13,7
ES
Concert Hall (British)
to 1956 (or 1954)
London LP
500C-10.5
500
C
-10.5
Hi,mm,JP
Contemporary
2001-02, 2501-02, 2505, 2507, 3501
AES
400N-12.3
400
N
-12.3
Hi,ES,mm,JP,Mc
Contemporary
2504
NAB
500B-16
500
B
-16
Hi,ES,mm
Contemporary
after matrix AP121
RIAA
500R-13.7
500
R
-13.7
ES
Cook
to 1958(?), regular mono records
Cook
500
N
var. -12 to -15
ES,mm
Cook
Cook Laboratories
NAB
500B-16
500
B
-16
JP
Cook (binaural)
inside band -0 roll-off, outs.-11 dB
500
0 ins./-11 outs.
Hi,ES,mil,mm
Coral
sublabel of Decca (Amer.), est. 1949, up to MG4400, with raised matrix
Old RCA
800N-8
800
N
-8
ES
Coral
AES
400N-12.3
400
N
-12.3
JP,Mc
Coral
to 1958(?)
NAB
500B-16
500
B
-16
Hi,mm,JP
Decca (American)
up to MG4400, with raised matrix
Old RCA
800N-8
800
N
-8
ES
Decca (American)
1949-1951
London LP
500C-10.5
500
C
-10.5
mm
Decca (American)
1953, 33⅓ and 45 rpm
AES
400N-12.3
400
N
-12.3
mm,JP,RF
Decca (American)
1953 - Nov 1955, 33⅓ and 45 rpm
NAB
500B-16
500
B
-16
Hi,mm,JP,RF
Decca (British)
1950-1956
London LP
500C-10.5
500
C
-10.5
mm
Decca (British)
ffrr (from ARL1186-1B)***
???London
500
-10
ES
Decca (British)
ffrr (after 6/50)***
500-FLAT
500N-0
500
N
0
ES
Decca (British)
ffrr (from ARL2530-2A)
RIAA
500R-13.7
500
R
-13.7
ES
Decca (European)
1949 - 1954, (Telefunken + Decca UK = TELDEC since 1950)
Telefunken
400N-0
400
N
0
mm
Decca (European)
some 1954-1962
CCIR 78
350N-10.5
350
N
-10.5
mm
Decca (European)
most from 1954
RIAA
500R-13.7
500
R
-13.7
mm
Decca ffrr
1951 [Disputed!][1]
300
-14
JP,RF
Deutsche Grammophon
alias "DGG"
LP
-10
ES
Deutsche Grammophon
1952 - 1955, early LPs, cat. no in a rectangle, bass shelf 50 Hz
IEC N78
350A-10.5
350
A
-10.5
PC,GH,RB
Deutsche Grammophon
cat. no. in an inverted triangle (RIAA symbol)
RIAA
500R-13.7
500
R
-13.7
PC
Deutsche Grammophon
1957, test disc DG 99105, possibly the only disc to DIN 45533
TELDEC
500R-11
500
R
-11
PC
Dial
1948 - 1954, 33⅓ and 45 rpm, bass of EP 45s can be improved by 700Hz t/o
Columbia LP
500C-16
500
C
-16
ES,mil,mm,JP
Dot
to 1958, 33⅓ and 45 rpm
AES
400N-12.3
400
N
-12.3
mm
Ducretet Thomson
10/1954 - 1958, British releases issued by London/Decca UK
London LP
500C-10.5
500
C
-10.5
RF
Elektra
EKL 2-15, 18-20, 24-26 (rel. 1952-55)
Bartok
630N-16
629
N
-16
Hi,ES,mm,JP,Mc
Elektra
EKL 17, 22 (released 1954)
AES
400N-12.3
400
N
-12.3
Hi,ES,mm,JP
Elektra
EKL 16, 21, 23 (rel. 1955) and from 27 up
RIAA
500R-13.7
500
R
-13.7
Hi,ES,mm
EMI-Angel
to 1952, Deutsche Grammophon releases in US
Old Ortho. [R-D]
500N-13.7
500
N
13.7
mm
EMI-HMV
1949 - 1953; matrix 2XEA213-392/XAX561-817 (1N,2N) 33⅓ and 45 rpm
500-FLAT
500N-0
500
N
0
ES
EMI-HMV
1951 - 1954
NAB
500B-16
500
B
-16
mm
EMI-HMV
1954 - 1958?
Columbia LP
500C-16
500
C
-16
mm,JP
EMI-HMV
since July 1953
RIAA
500R-13.7
500
R
-13.7
ES,PC
EMS
1951 - 1956
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP, RF,Hk,Mc
Epic
1948 - 1954, a Columbia sublabel
Columbia LP
500C-16
500
C
-16
ES,mil,mm,JP,RF
Esoteric
ES 500,517 and EST 5,6
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP
Esoteric
to matrix E2KP 9607, mastered by RCA; from ES 533 => RIAA
Old Ortho. [R-D]
500N-13.7
500
N
13.7
ES,Mc
Festival
to 1955
Columbia LP
500C-16
500
C
-16
ES,mil,mm
Fraternity Records
up to F-1013
500-FLAT
500N-0
500
N
0
ES
Good-Time Jazz
1, 5-8
NAB
500B-16
500
B
-16
Hi,ES,mm,JP
Good-Time Jazz
3, 9-19
AES
400N-12.3
400
N
-12.3
Hi,ES,mm,JP,Mc
Good-Time Jazz
2, 4, 20 and up; since Oct 1955 => RIAA
RIAA
500R-13.7
500
R
-13.7
Hi,mm
Handel Society
sublabel of Concert Hall, mostly produced by COL, 1951-1954; others see Concert Hall
Columbia LP
500C-16
500
C
-16
ES,mil,mm
Haydn Society
sublabel of Urania; to matrix XTV20383, mastered by COL; to cat. HS-3062, HSL-84; 1949 to 1954
Columbia LP
500C-16
500
C
-16
Hi,ES,mil,mm,JP, Hk,AT
His Master's Voice (Amer.)
sublabel of RCA; to 1952; since Aug 1952 => "New Ortho." = RIAA
Old Ortho. [R-D]
500N-13.7
500
N
13.7
ES,GH,RM
His Master's Voice (British)
1949 - 7/1953, EMI-UK, matrix nos. LPs: 2XEA213 - 392 and 0XAV145; EPs: 7TEA 19, 7TAV 28; SPs: 7XBA14 - 21 and 7XCS 23, 7XLA 2, 7XRA 30, 7XSB 6, 7XVH 70, 7XEA688, 7XAV227
500-FLAT
500N-0
500
N
0
PC,ES
His Master's Voice (British)
Columbia LP
500C-16
500
C
-16
GH,JP,RF
Kapp
no. 100-103, 1000-1001
Kapp
800N-16
800
N
-16
Hi,ES,mil,mm,JP
Kendall
to 1958(?)
NAB
500B-16
500
B
-16
Hi,ES,mil,mm,JP
L'Oiseau-Lyre
to 1954, to matrix OL50018, prod. by Decca
London LP
500C-10.5
500
C
-10.5
Hi,ES,mil,mm,JP
London
first few
Columbia LP
500C-16
500
C
-16
mm
London
ffrr; after 6/1950***; to matrix ARL1186-1B
500-FLAT
500N-0
500
N
0
ES
London
ffrr; to LL-846; to matrix ARL2530-2A
London LP
500C-10.5
500
C
-10.5
Hi,mil,mm,ES
Lyrichord
1951 - 1957(?)
NAB
500B-16
500
B
-16
Hi,mm
Lyrichord
1950 - 1952, mastered by RCA
Old Ortho. [R-D]
500N-13.7
500
N
13.7
PC
Lyrichord
400
-16
mil,JP,RF
Lyrichord
before 1953, (E0-E3 matrix)
???AES
400
-12
ES
Lyrichord
if labeled "629"
Bartok
630C-16
629
C
-16
ES,mil,JP,Mc
Mercury
1948 - 1952, marked "2000Hz/3dB p.octave", MG10000 series
500
-7 (3 dB/oct.)
PC,ES
Mercury
1953 - Oct 1954, 33⅓ and 45s, to matrix MG50026, 7000
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP, PC,Hk,Mc
MGM
to 1952
NAB
500B-16
500
B
-16
GH,mm
MGM
to 1953; to matrix M-G-M E3071; 33⅓ and 45 rpm; bass of 45s can be improved by 700 Hz
MGM [MGM]
500N-12
500
N
-12
ES,mm,JP,Hk,AT, Mc
MGM (British)
1949 - 7/1953, matrix nos. SPs: 7XSM203
500-FLAT
500N-0
500
N
0
PC
Music Treasures
all
Columbia LP
500C-16
500
C
-16
mm
New Records
to 1954
Columbia LP
500C-16
500
C
-16
ES,mil,mm
New Records
mastered by RCA
Old Ortho. [R-D]
500N-13.7
500
N
13.7
ES
Nixa (British)
1950 (founded) to 1955, US matrixes from Westminster
Columbia LP
500C-16
500
C
-16
mm,PC
Nixa (British)
to 1955, if labeled AES
AES
400N-12.3
400
N
-12.3
mm
Nixa (British)
to 1955, if labeled NAB
NAB
500B-16
500
B
-16
mm
Nixa (British)
US matrixes from Polymusic or Urania; mastered by RCA Victor
Old Ortho. [R-D]
500N-13.7
500
N
13.7
PC
Nixa (British)
US matrixes from Lyrichord; see: Lyrichord
PC
Nocturne
LP1-LP3 ,LP5; XP1-XP10
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP
Oceanic
to 1958; to matrix XTV20383, low take nos.
Columbia LP
500C-16
500
C
-16
Hi,ES,mil,mm,JP, Hk
Odeon
300
-10
ES
Overtone
nos. 1-5 produced by COL; from no. 6 => RIAA
Columbia LP
500C-16
500
C
-16
ES,TP,AT
Oxford
to 1958?
Columbia LP
500C-16
500
C
-16
Hi,ES,mil,mm,JP
Pacific Jazz
to 1953
Pacific Jazz
500C-12
500
C
-12
mm
Pacific Jazz
PJLP 1-13; 10" LPs issued in 1953/54
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP
Parlophone
1947-1954
300
-10
ES
Parlophone
1949 - 7/1953, EMI UK, matrix nos. LPs: XEX 60; SPs: 7XCE135; (EPs were probably all RIAA)
500-FLAT
500N-0
500
N
0
PC,ES
Period
1949-1953; up to 576
NAB
500B-16
500
B
-16
ES,mil,mm,Mc
Philharmonia
to 1958?
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP, Hk,Mc
Philips
to 1953, 33⅓ and 45s
Philips
400N-6
400
N
-6
mm
Philips (British)
1953 - ?, LPs with re-issues of 78s masters
CCIR 78
350N-10.5
350
N
-10.5
PC,RB
Polydor
sub-label of Deutsche Grammophon
300
-10
ES,mil
Polymusic
to 1958 (regular mono records)
NAB
500B-16
500
B
-16
ES,mil,mm,JP,RF
Polymusic (binaural)
inside band -0 roll-off, outs.-11 dB (Cook system)
500
0 ins./-11 outs.
Hi,ES,mil,mm
Rachmaninoff Society
to 1958?
Columbia LP
500C-16
500
C
-16
ES,mil,mm
RCA Victor
1949 - 1950, some 33⅓ and 45s; matrix from D9 to E0LRC3980
Old RCA
800N-8
800
N
-8 or -10
ES,mm,Mc
RCA Victor
1949 - 8/1952, first 45 rpm discs (also some 33⅓)
RCA 45 [R-D]
800N-13.7
800
N
-13.7
RM,mm,PC
RCA Victor
1950 - 8/1952, 33⅓ only; matrix from E0LRC3981
Old Ortho. [R-D]
500N-13.7
500
N
13.7
RM,ES,mm,JP,PC, Hk
RCA Victor
since Aug. 1952: "New Orthophonic"; all LM,WDM,DM cat. from 1701; LCT,WCT from 1112; all LHMV,WHMV,LBC,WBC and Extended Play 45s; (from E2RP4094)
RIAA
500R-13.7
500
R
-13.7
RM,Hi,GH,ES,PC
Remington
to 1958(?); to matrix 199-135
NAB
500B-16
500
B
-16
Hi,ES,mm,JP,Mc
Renaissance
1949 - 1952
Columbia LP
500C-16
500
C
-16
mm
Renaissance
1952 - 1954
Pacific Jazz
500C-12
500
C
-12
ES,mil,mm,Mc
Riverside
to Sept (?) 1955
AES
400N-12.3
400
N
-12.3
Hi,ES,mil,mm,JP
Stradivari
to 1958
Columbia LP
500C-16
500
C
-16
ES,mil,mm
Telefunken
1951 - 1953, (Telefunken + Decca UK = TELDEC since 1950)
Telefunken
400N-0
400
N
0
mil,mm
Telefunken
1954 - 1962
CCIR 78
350N-10.5
350
N
-10.5
mm,RB
Tempo
1948 - 1953
Columbia LP
500C-16
500
C
-16
mm
Tempo
1954 - 1958(?)
NAB
500B-16
500
B
-16
Hi,GH,ES,mm,JP
Transradio
to 1958(?)
Columbia LP
500C-16
500
C
-16
Hi,ES,mm,JP
Urania
most; to matrix XTV20383 (low take nos), mastered by COL; 1949 to 1954; since 1953 change to RIAA
Columbia LP
500C-16
500
C
-16
Hi,mil,mm,ES,Hk, AT
Urania
Cat. nos. URLP 224, 603, 7059, 7063, 7065, 7066, 7069; ca 1952/53
AES
400N-12.3
400
N
-12.3
Hi,mm,JP,Mc,AT
Urania
to matrix E2KP9243, mastered by RCA; 1950 to 1953
Old Ortho. [R-D]
500N-13.7
500
N
13.7
PC,ES,AT
Vanguard
VRS 411-42, 6000-18, up to XTV20386; VRS 7001-11, 8001-04; since 1954 RIAA
Columbia LP
500C-16
500
C
-16
Hi,ES,JP,GH,Hk AT
Vox
1948 - 1954; up to matrix XTV20386, PL8400 or labeled "Lp"; mastered by COL
Columbia LP
500C-16
500
C
-16
GH,mil,mm,JP,ES, PC,Hk
Vox
labeled AES
AES
400N-12.3
400
N
-12.3
mm
Vox
1951 - Oct 1954
NAB
500B-16
500
B
-16
Hi,mil,mm,JP,RF
Westminster
1948 - Oct 1955, to matrix XTV20383 low take nos.; mastered by Columbia
Columbia LP
500C-16
500
C
-16
Hi,ES,mil,mm,JP, PC
Westminster
EO matrix
Old RCA
800N-8
800
N
-8
ES
Westminster
to matrix E2KP9607, mastered by RCA
Old Ortho. [R-D]
500N-13.7
500
N
13.7
ES
Westminster
labeled AES
AES
400N-12.3
400
N
-12.3
Hi,mil,mm,JP,RF
Westminster
labeled NARTB
NAB
500B-16
500
B
-16
GH,JP
Sources, links and reading references
Recommended analog reference
James R. Powell, Jr. and Randall G. Stehle, "Playback Equalizer Settings for 78 RPM Recordings", Third Edition, Gramophone Adventures, Portage, MI, 1993, 2002, 2007. A compilation of Powell’s subjective recommendations of Owl 1 settings for approx. 1800 discs / 400 labels (mostly American and Jazz). Reprint of 3rd edition available at Nauck’s.
Fritz Langford-Smith, Radiotron Designer's Handbook, Wireless Press, Sydney, Fourth edition, 1952.
James Moir, High Quality Sound Reproduction, Chapman & Hall Ltd., London, 1958
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