@lowrider57
Thanks for the answer, I think I was trying to say what you are saying, you being more eloquent on the way of articulating it. I do believe the LP is warmer, but for the reasons mentioned, the EQ at the production stage, the "artist/mastering engineer" (that, after all, has the job of making a recording "fit" the LP media), and even (not odd, i.e. 2, 4, 6, 8, etc) harmonics distorsion, that we like to read this or not... After all, listen to a piano and punch the two C (one octave apart), IT IS warmer, much more rich than a single note, no wonder we humans like "even" harmonics...
On another note, I am always amazed how many people that I talked to in my youth, never noticed the distorsion (with the treble going out) of an LP near the inner grooves; out at the end of a side. You turn the record over, and suddently the sound comes less distorsioned and treble is at max. This can be explained for anybody who studied physics. The tangential velocity of an LP is probably double that of the one at the end. This means that at the beginning of the record, the 33rpm is like more equal to 16 rpm at the end, or 66rpm at the beginning would equal 33 at the end, something like this. I don't know the exact value, but it is quite heard... I often wondered, in fact, if more complex tracks were not put at the beginning of an LP for this reason. Yes the mastering engineer can relax the space between groove when the lacquer is cut, but the speed cannot be changed.
For the RIAA curve, I am not sure if I agree. Normally when you pre-emphasis and you de-emphasis using the same amount the result should be the same. However tolerances of the system may come into play. For that reason and for the fact that compression combined with the EQ (RIAA) your point may be valid.
