Link to a comprehensive summary on LP EQ curves: (above table is from this site)

https://www.pspatialaudio.com/record_characters.htm

How to start when you have the choice for EQ curves?

When your phono stage allows for different EQ curves, then put on a record, and play it with RIAA curve first for a few minutes. Then, go to the next option, and spend a few minutes there and observe the differences. Then, go to third option... etc. Get used to how records sound when played correctly, and what changes when the wrong curve is used. After a while you will be able to tell whether the right curve is used, and how far away you are from the optimal curve. It took me a year to be confident with it, and by now it's as natural as listening to absolute phase.

My way of having the freedom to play records

The Hagerman Violin phono stage allows for 4 EQ curves. Also, On the VOL loudspeaker I can adjust the compression driver level to 0dB, -2dB, -4dB, and -14dB. Th compression driver is crossd over at 500Hz, and essentially I gain the freedom to add options to the 500Hz turnover! (Look at the letters on the list above.) The combination of these allows very good enjoyment of all the records that I tried so far. While I found some that could benefit from even better approximation, yet, ALL became EXTREMELY enjoyable, versus having no ability to choose the curve and EQ, where the most extreme EQ LPs are virtually unlistenable, and sound like the stereotypical "broken record". The best case is the Westminster label organ recordings: with RIAA eq they sound as if there's no material below 200Hz or so at all. With proper curve/EQ they are some of my absolute favorite organ recordings, and they dig much deeper in frequency than the vast majority of organ recordings. So, never diss an LP for missing bass until you listen to it with PROPER EQ, as it was recorded and intended to be played back.

Also, on many recordings (not just LP, but digital media, including movies as well!) absolute phase of both channels might be wrong. Also, absolute phase might be off for a single channel only!! We find this commonly with electronically reprocessed mono recordings and movies - so, both very old and very new material suffer form this deficiency. Thus, the ability to flip polarity of L and R channels independently is mandatory to enjoy everything, instead of hearing a compromised version.

The Hagerman Violins EQ curves:

1. AES, early FFRR (400Hz- 11dB)

2. Decca/ EMI late FFRR (500Hz -11dB)

3. RIAA (500Hz - 13,7dB)

4. Columbia / NAB (500Hz - 16dB)

Battle of labels 9/18/2020

Just because it says audiophile pressing and it's a London, a lowly Angel might be the winner of the battle. Comparison of 3 Schubert Symphony recordings:

1. Georg Solti / Vienna Philharmonic, #8 and #5. London ffrr digital, "imported audiophile pressing", Netherlands, 414-371-1. Thin and weak sound. Quite Beethovenesque, cannot recognize Schubert. (So, poor interpretation on top of poor sonics.)

2. Otto Klemperer #9. Angel paper cover. S-35946. Much better sound than London digital. Organic soundstage, much fuller sound. Highs little off. Little surface noise, not noisier than the London digital. Better conducting than Solti's.

3. George Szell, The Cleveland Orchestra #9. S-36044. Angel mustard/brown label, EMI / manufactured by Capitol records, Hollywood. Very good tonal and dynamic balance, everything sounds right. Very quiet, dark background, no surface noise. Beautiful conducting, one of the maestros last performances. Recommended for both recording quality and performance level!