Collectors of acoustically recorded 78s often seek "flat" output by switching out recording curve compensation or playing the records through a preamp without it, such as a microphone preamp. Modern phono preamps routinely compensate for this rise in combination with their setting for RIAA or other curves, but in every preamp known to me until now, playing a record without curve compensation removes the cartridge compensation as well. In other words, the rising magnetic cartridge response differs from treble boost in RIAA or such equalization, as it will affect the lowest note of a big pipe organ, or at least its fundamental, not just the fundamentals of those sounding above some middle frequency. The boost starts at the lowest frequency of which the cartridge is capable, and it continues at that constant rate all the way to the highest, meaning it affects tonal balance all across the audible response range. Here's a quick summary of what's absolutely necessary to the discussion: magnetic cartridges inherently have a +6 dB per octave rising response with frequency. Therefore, I'll-mostly!-leave explaining first principles to the expert and pass on to their consequences, at least as I understand them.
#T.n.t. jazz 1925 series#
Good news for you: rather than suffer through any attempted explanation by this non-engineer, you can get the inside scoop straight from Graham Slee himself in a series of blog posts available here. The reason has much to do with the physics of magnetic cartridges. For those of us who collect records made with the horn-and-diaphragm mechanical system prevalent before the introduction of microphones and electric cutting heads in the mid-1920s, the Accession is revolutionary: it demands the user reassess not his gear but his ear, throwing away ideas of how things should sound based on what has gone before and starting afresh. The ability to remove the EQ completely and add it later in the digital domain should put the Accession high on the shopping list of anyone who takes their archiving seriously.Īfter briefly consulting with TNT powers-that-be, I contacted the company and very promptly (embarrassingly so, considering how long it's taken me, for a variety of "real life intrudes" reasons, to get words onto virtual paper) received a spanking new silver finish Accession for my own assessment as a collector of vintage records. The alternative EQ curves can be a real bonus for classical collectors who have records that may have been cut with other EQ curves than the standard RIAA most of us are used to. I'm not aware of any other devices that do this. This would be a good moment to mention the EQ on the Accession as it's rather unique in that first it EQs the cartridge and then applies the selected record EQ curve. While we're on the front panel it also sports a mono switch, 3 EQ curve options and the option to remove EQ completely for recording so you can add EQ in the digital domain if you wish. Graeme's review, however, did contain a few remarks that caught my attention like flares from a Very pistol (emphasis mine): I wasn't surprised I've been happily playing 78s and LPs alike through a Graham Slee Jazz Club (bottom component, photo right TNT review of earlier version here) since 2010, from day one considering it very possibly the best audio purchase I've ever made. Taking it from the perspective of one devoted to modern LPs, Graeme liked what he heard. This article supplements Graeme Budd's evaluation last June of the Graham Slee Accession phono preamp (top component, photo right).
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