Equalization for vinyl nirvana


Hi all,

I have a question for the Audiogon and vinyl community: do you think equalization is helpful for getting good results with vinyl playback? I ask because I'm a vinyl newbie. Recently added a nice turntable and phono preamp to my rig and have slowly been collecting the recommended audiophile jazz, blues and rock albums that I like. But with few exceptions, most of the time I'm underwhelmed by the results. Lack of bass and midrange fullness is usually the problem. Sure, I could look for another amplifier, subwoofer, better cables... but I think a simpler, more affordable solution would be to get some Eq in the loop. So I just put an order in for a Schitt Loki+ 4-band equalizer. Figure it's a low-cost way to test the theory. 

Do any of you have similar experiences or related wisdom to share?

I'm also curious about the Sunvalley All Purpose Phono Eq that Herb Reichert loves, that has adjustable eq curves (https://www.stereophile.com/content/gramophone-dreams-42-sunvalley-audio-sv-eq1616d-phono-equalizer), as well as the Decware ZRock2 eq (https://www.decware.com/newsite/ZROCK.html).

Thanks for your help!
Josh
joshindc
@atmasphere Only the RIAA curve is used for stereo LPs. The LP mastering electronics do not have a provision for changing the curve- they are pretty picky about it- my electronics are matched to my cutter head.  
Yes but what about mono records from late 50,s through the 60,s , I have found that there are a few records that do need a different eq other than RIAA, I think their is still a debate whether the few phono preamps  (for ex. gold note , sun valley, ifi) who provide different eq choices are valid for those of us with mono records.  I have encountered a few 60,s london mono records that you  can  hear that RIAA eq is not used but i can,t be sure of that because I have no eq curve choices in my phono preamps that i own. I know M Fremer has already adressed the issue and says that by mid 50,s Riaa was the standard everybody was using, but my ears tell me it was not always the case.
@cardani Yes, if you are talking about pre-1958/stereo era mono recordings, its a bit of the Wild West just like it was with 78s.
A good number of mono LPs mastered in the US were done with the RCA Orthophonic curve which is where the RIAA curve came from. But not everyone used that curve and I don't think any from Europe did.

All mono releases after 1958 are on the RIAA curve.
@atmasphere ¨All mono releases after 1958 are on the RIAA curve¨
Interesting, i was thinking of a particular mid 60,s mono recording of Istvan Kertez Dvorak,s symp #2 on london FFRR, it sounds extremely bright as if a different eq was needed.
Interesting, i was thinking of a particular mid 60,s mono recording of Istvan Kertez Dvorak,s symp #2 on london FFRR, it sounds extremely bright as if a different eq was needed.
I've heard a few that are like that myself. But this was originally a stereo recording and if I have this right, recorded around 1967. I think there is a different reason for the brightness.
@atmasphere  Exactly, i have all of that Dvorak--Kertez cycle on stereo (which sound very good) except for that particular record on mono. Tried it with both ortofon 2m se mono cart and AT33 mono using RIAA with my ARCph3 phonostage and with both i hear the same brightness.  Probably a bad mono remastering job, I guess.