Re: [ARSCLIST] Marsh Labs recordings article [2]

["Copeland, Peter" <Peter.Copeland@xxxxx>]

Dear All,
    I agree this is an inappropriate methodology. When I was working in
the National Sound Archive, I researched the evolution of UK Decca's
equalisation by *comparing two masterings of the same performance*. I
knew UK Decca's 78 "ffrr" curve, and matched LP versions to that; and
along the way, I discovered that the "Ace of Clubs" and "Ace of Hearts"
reissues had *always* been remastered RIAA. So a chain of logic grew, in
which it proved possible to note *two changes* in UK Decca microgroove
equalisation, and quantify them by means of matrix-numbers.
    However, I consider it is also vital to *prove they are the same
performance recorded through the same microphone(s)*. This can be done
by routing the two versions through a mixer, switching the phase of one
version if necessary, and checking that the "swoooeeooosh" effect occurs
as the two discs crawl into synchronism and out again.
    I have been collaborating with Mike Stosich of Esoteric Sound to
straighten-out the equalisation histories in America. When I travel
around the country, I carry a WORD document with me listing the various
records I've acquired for this purpose. If anyone's half-vaguely
interested, please contact me offline at <peter.copeland@xxxxxxxxxx>. I
haven't found any suitable comparison-pairs for Vox, to name but one.
Peter Copeland
Former Technical Manager,
British Library Sound Archive.

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:ARSCLIST@xxxxxxx] On Behalf Of Steven Smolian
Sent: 07 June 2006 00:42
To: ARSCLIST@xxxxxxxxxxxx
Subject: [ARSCLIST] Marsh Labs recordings article

The present ARSC Journal has an article on equalization of the Marsh
Labs early electrical recordings.

The authors calculate their data when playing back through a preamp
using the RIAA curve, adjusted through the Esoteric Equalizer.  There
are other questionable components in the chain.  

I'm distressed to see this was not researched starting from flat treble
and bass response and with no filters.   

Steven Smolian

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