[78-L] A question about Decca speeds

[J. E. Knox]

Greetings from FixitLand!

Iñigo Cubillo wrote:

>>> I've been lately worried with a question. How is the right EQ for  
>>> US blue Deccas in the 2000-4000 range? I've read at some EQ  
>>> charts (WAMS, Elliot and others) that a treble rollof of up to  
>>> -12db shall be applied, but they sound great to my ears with a  
>>> flat treble (RIAA eliminated).

Flat treble (no rolloff) for nearly ALL prewar 78s! Only Capitol and  
a very few indie labels had treble rolloff. I have *no idea* where  
those "specifications" come from. The characteristic is constant  
velocity above the bass turnover point, constant amplitude below it  
(to avoid heavy bass notes overcutting and ruining the master).  
Treble boost (and rolloff in playback) was added in the early- 
mid-1940s to reduce surface noise effect and give a brighter sound.  
Look at early Capitol sleeves, for instance, that trumpet the "All- 
New Method of Recording." That's what they're talking about. For the  
vast majority of electric prewar 78s (but certainly not all of 'em!),  
a 400 Hz bass turnover and NO treble cut is suitable. If you have  
software that can do it, run a spectrum analysis and see *exactly*  
what any given record's characteristic is. (On a Macintosh, Sound  
Studio can do that. Dunno about peecees, but I'm confident there's  
similar apps that can do it.)

David Lennick wrote:

> New York Deccas almost always need to be played about 2.4% up  
> through 1948, but
> I've generally found that Los Angeles Deccas play pretty close to  
> 78. Some mid
> 30s NY and Chicago Deccas need to go up close to 4%.

Assuming a base speed of 78.26 rpm, that figures to 80.13824 rpm. I  
find, rather, that prewar New York Deccas play on-pitch at 79.00.  
That seems true also of Brunswick electricals (which figures, since  
Decca basically took over the Brunswick studio in '34). Pitching  
records is tricky business, of course, and personal tastes can come  
into play just as much as the varying speeds in different studios. I  
can't speak to the LA and Chicago Deccas, as I haven't yet done  
transfers of any of these.

> As for EQ on Columbias, a lot of them after 1944 just sound  
> DULLSVILLE, man.
> Remove some mid-range and you'll hear a lot more clarity.

Red Columbias can sound amazing if properly equalized. A spectrum  
analysis (see above) reveals much. Definitely no treble cut on these,  
either, not 'til '49.

> I'm convinced that
> Columbia and Victor equalized their records so that each would  
> sound rotten on
> the machines made by the other company. All Columbias from early  
> 1940 on (maybe
> slightly earlier) are dubs from 16-inch 33rpm originals.

Slightly earlier...in 1939; the 25000 block for sure, and the W(CO)  
26000 block which was cut at World Studios, 711 Fifth Avenue (with  
some exceptions).

> With all due respect
> to the authors of the book on EQ curves, which states that Columbia  
> didn't
> alter its curve between 1939 and 1955, horsefedders..they altered  
> the curve
> every time they cut a new master from an old source. I have a 2- 
> disc set with 3
> different curves (Enesco's Rumanian Rhapsody #1, Stock/Chicago,  
> each side cut
> at a different time in the 40s as stampers wore out).

The Harry James 14 November 1944 session recorded in Hollywood has  
different EQ per side depending on where the dubbed pressing master  
was made.

Take care,


Joe
--
"It is impossible to keep a straight face in the presence of one or  
more kittens."--Cynthia E. Varnardo