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The cutting stylus ends up having to fit much more sonic information in a shorter, smaller amount of groove space, causing more complex and rapid groove modulations. This slow groove speed causes both cutting losses and tracking losses. At 33 ⅓ RPMs, the outermost groove has a groove speed of 20 inches per second while the innermost diameter runs at a mere 8.3 inches per second. Keeping a constant revolution (either 33 ⅓ RPM or 45 RPM), the length of the groove for one revolution varies in relation to where it is on the disc. Sound deterioration on the innermost grooves is caused by the slower groove speed as the stylus moves towards the center of the record. What causes sound deterioration on the innermost grooves? fast upbeat songs, loud rock tracks, etc.) are more prone to these issues. Music with a lot of energy and pronounced highs (e.g. These sonic characteristics are also more apparent depending on the music. Longer music content takes up more groove space, bringing you farther inside the disc causing the deterioration to become more noticeable. The overall sound becomes less pronounced at the top end compared to other parts of the disc. The farther in you are, the more brittle the highs sound. Both of these factors come into play in the inner diameter of the record, where sound quality starts to deteriorate.
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Discretion is a must! Music programming (length & track order)Įven the duration and order of songs can greatly influence your record’s sound quality. Setting LFX to 100 Hz is already considered excessive by many vinyl cutters. LFX typically has crossover settings from 20 Hz all the way to 700 Hz. It can significantly alter the sound when not used properly. There needs to be absolute care when applying LFX. Consequently, turntables have an inverse EQ curve which results in flat frequency response on playback, like in the image below. Without going into its entire history, audio signals are cut into the vinyl master with a reduced low end and boosted highs. This is especially apparent because of vinyl’s RIAA EQ curve standard. Sibilance distortion happens when your playback cartridge can’t physically keep up with the rapid, complex modulations of severely sibilant grooves. But if excessive sibilance in your music isn’t properly addressed before the cutting of your vinyl master (also known as lacquer/acetate), you can expect your vinyl record to distort. Sibilance distortion can also be caused by a worn stylus or cartridge misalignment, among other things. Sibilanceĭue to the physical constraints of the format, severe sibilance on modern records tends to manifest itself as distortion on turntables. However, understanding them will help in all stages of production towards achieving a great sounding record.
#VERTICAL SKEW IN VINYL MASTER PRO PROFESSIONAL#
Depending on the music, any of these nuanced ‘vinyl-isms’ could behave differently and are best handled at the discretion of professional vinyl-cutting engineers. The tips below serve as a guide and should not limit your workflow and production techniques. which we’ll explore in detail below.īefore you read any further, it’s important to remember as a music creator that creative freedom in the production process remains a top priority. Other instances of vinyl-isms deal with factors such as sibilance, low-end stereo imaging, music programming, etc.
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Simply put, the louder the signal, the bigger the groove.the bigger the groove, the more space is used, hence less total time can be fit on a side. One such nuance is the relation between level and length of time. However, thoughtfulness and nuance are key. The strategies below have all been time-tested and are even more useful for today’s diverse selection of music. Vinyl has notable characteristics that cutting and mastering engineers need to be aware of when mastering for the format. Quirks of the format and strategies to address them There is a noted difference in scale between measurements, and in how the tools are laid out. Mixing and mastering are two different workflows, something mightily apparent when you consider Neutron and Ozone. The tools themselves aren’t that different between mixing and mastering, but how you engage with them is. A great rule of thumb when determining whether a tool is best served when mastering or mixing is to consider the UI and how you engage with it.