ESOTERIC SOUND Re-Equalizer User manual

OPERATING MANUAL
FOR
ESOTERIC SOUND
RE-EQUALIZER
PRICE; $5.00

Page #1
INSTRUCTIONS FOR OPERATION OF ESOTERIC SOUND RE-EQUALIZER
INTRODUCTION:
Today's modern audiophile equipment can sometimes be frustrating to owners of old records, especially
when their collection includes many old 78's or old mono Lp's. All modern preamps are designed solely
for today's microgroove, RIAA equalized recordings.
In the 1950's, almost all preamplifiers included selector switches having several different RECORD
COMPENSTIONS. Occasionally, on the more expensive units, this function was divided among two
switches labeled TURNOVER and ROLLOFF. These terms should be explained: Turnover refers to the
bass boost that must be applied in the preamp to compensate for the purposeful diminishment of bass
during record cutting to avoid crosscutting of the grooves. Rolloff refers to the treble loss the preamp
must provide to compensate for high frequency boost applied during record cutting. The benefit of the
latter is a reduction of surface noise during play.
Up until 1954, there were a variety of
recording characteristics applied to records
as they were being cut, such as AES, LP,
NAB and FFRR. Actually, most of these
compensations have use only for records of
a relatively brief period, say between 1940
and 1954. Before 1940, most records were
cut flat with only a low frequency turnover of
6 db per octave below frequencies below
from 300 Hz to 800 Hz. This also applied to
broadcast recordings(transcriptions) and
Vitaphone type recordings used before
sound-on-film. Therefore, if you play a
pre-WWII 78 rpm record on a modern
preamp, you are actually effectively playing
it with a scratch filter whose cutoff begins at
2200 Hz. This accounts for the lack of highs
and slightly muffled voices experienced with
these records. Of course, after 1954 all records were cut to the RIAA characteristic.
One way of dealing with the equalization problem is to use a graphic equalizer, but it is very difficult to get
accurate results by this method. Another way of dealing with the record compensation problem is to
modify your modern stereo preamp with an equalization switch for both RIAA and other compensations.
This is probably the best way to handle the problem, but it may spoil the cosmetics of your $1000 preamp.
There is also the problem of what to do with tape recordings made off of modern RIAA compensated
phono amplifiers. They will suffer from the frequency response distortion caused by the RIAA amplifier
and they cannot be played through the phono input of a special or antique record amplifier.
Because of these problems, the RE-EQUALIZER was designed. It is used after the RIAA phono stage,
and connects to the system just like a common graphic equalizer. It will then compensate any signal
source for proper equalization. The RE-EQUALIZER allows the use of any phono amplifier and will not
degrade the performance of any audiophile unit.

Page #2
Figure 1
CONNECTION:
The RE-EQUALIZER should be connected to the stereo system just like any other auxiliary sound
processing component. De-clickers, such as the Packburn 323 or Esoteric Sound SURFACE NOISE
REDUCER must always precede the RE-EQUALIZER. If tape recording is not used, connect the RE-
EQUALIZER in the tape monitor path. If tape recording is desired, connect the RE-EQUALIZER in the
tape monitor path(Fig. 1) and use a "Y" connector to feed its (or associated equipment's) output to an
unused "Aux" input. Tape playback will be via this "Aux" input. With the tape monitor switched in, you will
hear via your speakers the sound that is being processed.
If your preamp/amp/receiver does not have a separate "Aux" input, eliminate the "Y" connectors and
connect directly into the recorder, and connect the recorder's output to the amp's "Tape In." Then for
normal listening of Re-Equalized or otherwise processed sound monitor the tape recorder. If the tape
recorder has a "Monitor" switch, it must be in "Source" to do this.
CONTROLS:
The front panel has three controls: Turnover,Rolloff, and Bypass. The Turnover has six positions: FLAT,
300 Hz, 400 Hz, RIAA, Lp, and 700 Hz. The Rolloff also has six positions: FLAT, -5 db, -10 db, -12 db,
RIAA, NAB. The BYPASS switch provides a hard wire connection from input to output with no intervening
circuitry. When switched to “IN,” the two inputs are connected together providing mono operation. This
reduces some noise and facilitates recording.

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Turnover (FLAT) - Use this setting for most acoustical 78 rpm records and all cylinders.
Turnover (300 Hz) - This is used for Columbia brand and manufactured electrical records, London FFRR
78's, BBC broadcast transcriptions, many pre-WWII records & transcriptions, early Western Electric
products.
Turnover (400 Hz))(AES) - Some post-WWII 33's, 45's, 78's using the AES characteristic.
Turnover (500 Hz)(RIAA) - Most post-1935 US 78's, broadcast transcriptions and also for Orthoacoustic
and NAB transcriptions.
Turnover (500 Hz, modified)(Lp) - For early Columbia and some other Lp's.
Turnover (700 Hz) - A good compromise for 636 Hz and 800 Hz suggested by several sources. Use with
some early electrical 78's, some 1931 vintage Victor Lps, early 1950's RCA Lps and EP 45's. Also, it is
useful for improving bass on acoustical records, provided there is a sharp rumble filter.
Rolloff (0dB)(FLAT) - For acoustical records and all early (pre-1938) electrical 78's and transcriptions. A
low-pass(scratch) filter is useful in conjunction with this setting.
Rolloff (-5 dB) - This is for a -5 db drop at 10 KHz. Use for some post-1938 78's, FFRR 78's and BBC
transcriptions or to soften noise on early recordings.
Rolloff (-10 dB) - This is for a -10 db drop at 10 KHz. Use for some post-1938 78's, early Lp's such as
London & RCA-Victor.
Rolloff (-12 dB)(AES) - This is used for some post WWII 33's, 45's, and 78's employing the AES
characteristic.
Rolloff (-13.7 dB)(RIAA) - For most modern records.
Rolloff (-16 dB)(NAB) - For early Columbia Lp's and all NAB and Orthoacoustic transcriptions.
RECOMMENDED SETTINGS (see tables):
These are recommended, but not written in stone, for setting the RE-EQUALIZER to accurately play back
various records. As documentation of recording curves is difficult to track down, some experimentation
may be called for.
Tables for record compensation settings were published in most early hifi magazines (“Dialing You Discs”
in High Fidelity) but are often fallacious. These turn up occasionally and may be consulted. In
"Conversations With Toscanini," by B. H. Haggin, many subjective suggestions are given for playback of
Toscanini discs.
HINTS ON USE:
One advantage of the RE-EQUALIZER is the ability to not only use it on phono records, but on tape
recordings of vintage records made with RIAA equalized preamps. Be careful not to trust all transcription
and record labels. Many pre-WWII radio shows which were recorded with flat highs were re-syndicated

Page #4
again in the late 40's and 50's. As the original masters were normally used, the re-release will require the
flat Rolloff even though the label states NAB or Orthoacoustic! This is also true for post-WWII 78's. Take a
RCA-Victor 78 of Glenn Miller, which was originally recorded in the 30's on Bluebird or Victor, and you will
find that a Rolloff of FLAT or -5 will suffice. Many of the compensator settings specified in various old
tables would have stated that -10, or the AES setting was the proper Rolloff to use. Try playing many Lp
reissues of 78's, as on RCA Bluebird, with the Flat Rolloff position and you will be in for a pleasant
surprise.
Also, many small recording company and radio station engineers seemingly didn't understand recording
and playback curves and often employed no pre-emphasis on recordings labeled as NAB. This has been
found to occur commonly, even on discs cut into the 1960's!
You may find many discs that do not fit the tables or discs that do but for whom the table is ambiguous.
On these, you will have to let your ear be your guide and also try to determine if the manufacturer could be
Western Electric, Columbia, or non-US. These tended to use 300 HZ Turnover. Listening to the material
will often suffice to impress you whether to use 300 Hz or 500 Hz. Once the low end is determined try
various Rolloffs. Almost all early electrical recordings were recorded with flat response. If noise proves a
problem try more than the recommended Rolloff.
When playing older or abused records that require less Rolloff, i.e., Flat, -5, -10, a significant increase in
noise level will often be noticed due to surface noise. In these cases, a high frequency, lo-pass, hi-cut, or
"scratch" filter is recommended. Don't forget that when playing a flat cut record with an RIAA preamp, you
are actually effectively using a scratch filter that is some 13.7 db down at 10 KHz. On these types of
records, with let's say a 7.5 KHz scratch filter and the RE-EQUALIZER set to FLAT, you will be gaining in
highs between 2.2 KHz and 7.5 Khz. Although the scratch filter is employed, its use in combination with
the RE-EQUALIZER will result in significantly more highs than with a standard RIAA preamp and not using
the filter.
When playing vertical-cut records, such as Edison or Pathe, be sure to switch one pair of leads (non-earth
ground) of a stereo cartridge used for play. If this is not done, the channels will largely cancel when the
RE-EQUALIZER is switched to “IN,” resulting in very low volume.
SPECIFICATIONS:
Max input signal level: 3.5 volts (+12 dbm)
THD at max output : 0.02%
Frequency Response (RIAA compensation): 20 - 20 KHz +.5 db
Gain: 1
Signal-to-Noise relative max out: 85 db
HELP SET THE RECORD STRAIGHT
Please inform Esoteric Sound of any errors that you find in the equalization tables. If you have any
additional equalization information, please bring it to our attention so that it can be included in the future
updates. **** WARRANTY ****
This unit is warranted to perform properly for one year from date of purchase. All parts and labor is
covered. Should the unit malfunction, return it properly packed, and with payment of $10.00 to cover return
postage, and it will be repaired and returned as soon as possible.
Foreign purchasers are requested to remove the RE-EQUALIZER from its cabinet (if purchased) and
return the unit along with payment of $40.00 via surface shipping. We will return the unit via the same
process.

Page #5
PHONOGRAPH RECORD EQUALIZATION COMPENSATION SETTINGS
MANUFACTURER SPEED BASS (TURNOVER) TREBLE (ROLLOFF)
==============================================================================================
Acoustic records* All FLAT FLAT
AFRS Transcriptions 33 RIAA FLAT
AFRS 12" Transciptions 700 FLAT
1944 Some or if NAB Stated RIAA NAB
Allegro 33 Lp NAB
Allied 33 RIAA NAB
American Recording Society (<E2KP9607) 33 RIAA -12
Angel (<35022)# 33 RIAA -12
Arizona (up till 1955) 33 400 -12
Artist 78 RIAA NAB
Atlantic 33 RIAA NAB
Audiophile 33 RIAA -12
Audiophile 78 400 FLAT
Audio Fidelity (901-903) 33 RIAA NAB
Bach Guild (501-529) 33 Lp NAB
Balkan 78 500 -5
Banner (up to 10002) 33 Lp NAB
Bartok 33 Lp NAB
Bartok (301-304, 309, 906-920) 33 700 NAB
Berliner* 71.29 FLAT FLAT
BBC Transcriptions 33 300 FLAT
BBC Transcriptions (1949) 33 500 -5
Bluebird All See RCA-Victor See RCA-Victor
Blue Note 33 400 -12
Boston (up to B202) 33 Lp NAB
Brunswick (1925) 78 300 FLAT
Brunswick (1946) 78 LP NAB
Brunswick (up to MG4400)(early “T”) 33 LP NAB
Caedmon 33 700 -12
Caedmon (1001-1022) 33 700 NAB
Canyon (to C6160) 33 400 -12
Capitol(FDS) 78 400 -12
Capitol* 45 RIAA -12
Capitol(FDS) (up to P8155) 33 400 -12
Capitol(1953,FDS>8156) All RIAA RIAA
Capitol-Telefunken 78 RIAA FLAT
Capitol-Cetra (up to A-50155)(9/53)# 33 400 -12
Cetra-Soria 33 Lp NAB

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MANUFACTURER SPEED BASS (TURNOVER) TREBLE (ROLLOFF)
=================================================================================================
Colosseum 33 400 -12
Columbia-1925 78 300 FLAT
Columbia-1938 78 300 -5
Columbia-1948 78 300 NAB
Columbia-1948* 45 RIAA NAB
Columbia-1948 (up to ML4895, XLP3200)# 33 Lp NAB
Columbia-1954 (after XLP3200 matrix)# All RIAA RIAA
Columbia with “HIFI+” sticker ** All RIAA RIAA
Columbia(English) (1925-53) 78 300 FLAT
1949-1953 (XA561-XAX817-1N,2N only) 33 RIAA FLAT
Contemporary 33 400 -12
Concert Hall 78 RIAA -5
Concert Hall (XTV matrix to 20386) 33 Lp NAB
Concert Hall (E0 matrix) 33 700 -10
Concert Hall (E1KP/E2KP matrix) 33 400 -12
Concert Hall (CH matrix?) 33 RIAA -10
Concert Hall (E2RP>4095/E2KP>9607) 33 RIAA RIAA
Contemporary (3501, 2501/2/5/7, 2001/2 33 400 -12
(2504) 33 RIAA NAB
(after AP121) 33 RIAA RIAA
Cook 33 RIAA -12
Cook(binaural-inside band) 33 RIAA FLAT
Coral (up to MG4400)(w/raised matrix) 33 700 -5
Coral 78 400 -12
Cylinder records* All FLAT FLAT
Decca (US)(pre 1946) 78 300 FLAT
Decca (1946) 78 RIAA NAB
Decca* 45 RIAA -5
Decca (up to MG4400)(w/raised matrix) 33 700 -5/-10
Decca-English 78 300 FLAT
Decca-FFRR (1944) 78 300 -5
Decca-FFRR (after 6/50) 33 RIAA FLAT
(>ARL1173)# 33 Lp -10
(>ARL2530)# 33 RIAA RIAA
DGG (Deutsche Grammophone) 33 Lp -10
78 300 -5
Dial 33 Lp NAB
Dial* 45 Lp NAB
Dial 78 Lp NAB
Edison 80 FLAT FLAT
Electra (2-15, 18-20, 24-26) 33 700 NAB
(17, 22) 33 400 -12
(16, 21, 23, 24) 33 RIAA RIAA
Electrical 78's (general) (1925-1938) 78 300 FLAT
1932-1938 78 300/RIAA FLAT
1938-1946 78 300/RIAA FLAT, -5
1947-1954 78 300/RIAA NAB
Electrola 78 700 -10

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MANUFACTURER SPEED BASS (TURNOVER) TREBLE (ROLLOFF)
=================================================================================================
EMI (1931-53) 78 300 FLAT
1949-1953 33 RIAA FLAT
7/17/53 33 RIAA RIAA
EMS 33 400 -12
Epic 33 Lp NAB
Esoteric (ES500, 517, EST5, 6) 33 400 -12
(E2KP to 9607) RIAA -12
European 78's (general) 78 300 -5
Festival 33 Lp NAB
Folkways 33 Lp NAB
Fraternity Records (up to F-1013) 33 RIAA FLAT
Good Time Jazz (3, 9-19) 33 400 -12
(1, 5-8) 33 RIAA -16
Gramophone 78 300 -10
Handel Society 33 Lp NAB
Haydn Society (<XTV20386, HS3062, HS80)# 33 Lp NAB
Hit Of The Week 78 RIAA -5
Home recordings 33/78 RIAA -5
HMV(English)
1925-1953 78 300 FLAT
1949-1953 (2XEA213-392 -1N,2N only) 33 RIAA FLAT
HMV(American-1951) 33 RIAA -12
Improved Record (Eldridge R. Johnson)* 71.29 FLAT FLAT
Kapp (up to 1001) 33 700 NAB
Kendall 33 RIAA NAB
Keynote 78 RIAA FLAT
King 78 RIAA NAB
Linguaphone 78 300 FLAT
L'Oiseau-Lyre (up to OL50018)# 33 Lp -10
London (pre 1945) 78 300 FLAT
London-FFRR (after 1944) 78 300 -5
London-FFRR (after 6/1950) 33 RIAA FLAT
(>ARL1173)# 33 RIAA -10
(>ARL2530)# 33 RIAA RIAA
Lyricord (before 1953)(E0-E3 matrix) 33 400 -12
(XTV matrix) 33 Lp NAB
(If 629 listed on jacket) 33 700 NAB
Majestic 78 RIAA NAB
Mercury (MG10000 series-approx fit) 33 500 -10
Mercury (thru 10/54, <MG50026, 7000)# 33 400 -12

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MANUFACTURER SPEED BASS (TURNOVER) TREBLE (ROLLOFF)
=================================================================================================
Mercury* 45 400 -12
Mercury 78 400 -12
MGM (up to E3071)# 33 RIAA -12
MGM* 45 RIAA -12
MGM 78 RIAA -12
Montilla 33 RIAA -12
Musicraft 78 700 RIAA
NAB/NARTB transcriptions 33/78 RIAA NAB
NAB/NARTB vertical transcriptions 33/78 400 NAB
New Records 33 Lp NAB
Nocturne (LP 1-3, 5, XP 1-10) 33 400 -12
Oceanic (up to XTV20386) 33 Lp NAB
Odeon 33 300 -10
Odeon(some early electrical) 78 700 FLAT
Odeon(pre-1947) 78 300 FLAT
Okeh(electrical) 78 300 FLAT
Orthoacoustic transcriptions 33/78 RIAA NAB
Overtone (1-3) (up to XTV20386) 33 Lp NAB
Oxford 33 Lp NAB
Pacific Jazz (1-13) 33 400 -12
Parlophone
1947-1954 33 300 -10
pre-1947 78 300 FLAT
1947-1954 78 300 -10
Period (up to 576)# 33 RIAA NAB
Philharmonia 33 400 -12
Polydor 33 300 -10
Polydor 78 300 -10
Polymusic 33 RIAA NAB
Polymusic(binaural-inside band) 33 RIAA FLAT
Rachmaninoff Society 33 Lp NAB
RCA-Victor
Early Acoustics* 71.29 FLAT FLAT
Later Acoustics* 76.59-78 FLAT FLAT
1925 78 300 FLAT
1931(Program Transcription) 33 700 FLAT
1935 78 300/RIAA -5
1938-1954 78 RIAA -5
1954 (New Ortho only) 78 RIAA RIAA
1930-50 (European) 78 300 FLAT
1949 (D9 to EOLRC3980)# 33/45 700 -10
1950-8/52 (>E0LRC3981)# 33/45 RIAA -12
8/52(New Orthophonic)(>E2RP4094) 33/45 RIAA RIAA
Remington (up to 199-135)# 33 RIAA NAB

Page #9
MANUFACTURER SPEED BASS (TURNOVER) TREBLE (ROLLOFF)
=================================================================================================
Riverside 33 400 -12
Renaissance 33 Lp -12
Stradivari 33 Lp NAB
Supraphone 78 400 FLAT
Technicord 78 700 -12
Telefunken 78 400 -5
Tempo 33 RIAA NAB
Transcriptions(many pre-WWII) 33/78 RIAA FLAT
Transcriptions(vertical-old) 33 300 -5
Transcriptions(vertical-NAB) 33 400 NAB
Transradio 33 Lp NAB
Ultraphone 33/78 400 FLAT
Urania-old (up to XTV20386) 33 RIAA NAB
Urania-later (<E2KP9607) 33 400 -12
Urania-late 1954 (>E2KP9607) 33 RIAA RIAA
Vanguard (411-422, 6000-6018, 7001-7011, 33 Lp NAB
8000-8004, (up to XTV20386)
Vox (up to XTV20386), PL8400)# 33 RIAA NAB
War Department-Special Services - 12" 33 700 -5
Westminster (EO matrix) 33 700 10
Westminster (up to E2KP9607) 33 400 -12
Westminster (up to XTV20386) 33 Lp NAB
Victor All See RCA-Victor See RCA-Victor
Vitaphone(motion picture) 33 300 FLAT
Vocalion(electrical) 78 300 FLAT
Western Electric(early transcripions) 33 300 FLAT
Zonophone 78 300 FLAT
Zonophone (early) 71.29 FLAT FLAT
RIAA, Ortho, New Ortho, New NARTB, New All RIAA RIAA
AES used on recordings since 1955
Notes:
* On some recordings with very thin bass, such as 45 rpm EP's and acoustics, 700 Hz Turnover
may be used with appropriate rumble filter.
** Sometimes, one side has old matrix number, the other new. There are two Eqs.
# These are approximate record numbers circa adoption of RIAA
Sources:
McIntosh Laboratory, C-8, C-22 Manuals.
High Fidelity Magazine, Dialing Yor Discs, 1953-57.
Fisher Master Audio Control 80-C operating manual.
Pickering Record Compensator manual.
Packburn 323A operating manual.
Source Engineering Specialist Preamplifier operating manual.

Page #10
Western Electric 9A reproducer manual.
RCA Universal Tone Arm And Filter Kit MI-11870 manual.
Radiotron Designer’s Handbook.
The Recording and Reproduction of Sound, Oliver Read, 1952.
Radio & Television News, Charles Boegli, 1953.
Getting the Best from Records, Wireless World, February, 1940, P. G. A. H. Voigt.
Preamplifier Switching and Equalizing Unit for Critical Listening, M. V. Kiebert, Audio, 1952.
Evolution of a Recording Curve, R. C. Moyer, Audio, 1953.
Professional Equalizing-Preamp Suitable for Home Use, K. W. Betsh, Audio, 1957.
Letter from E.C. Forman to John M. Kaar, 1935.
Drawing KRD-1384, from letter of H. I. Reiskind of RCA to John M. Kaar, 12-10-49.
Personal correspondence from Emery Cook, 1987.
Letter from V. C. Houk of RCA to John M. Kaar, 10-26-48.
Letter from H. I. Reiskind of RCA to John M. Kaar, 4/11/50.
Personal correspondence and articles from Peter Copeland, 2002.
FREQUENCY RESPONSE OF RE-EQUALIZER FOR VARIOUS SETTINGS OF TURNOVER AND ROLLOFF
Esoteric Sound
1608 Hemstock Ave.
Wheaton, IL 60187
630-933-9801
E-Mail: [e-mail]