Discussion in 'Music Corner' started by flashgordon, May 25, 2007.
Excellent examples, thanks for the pics M!
That's exactly what I explained previously. It's a mirror band area, after the Laser was started, but prior to the Catalog Band info being added. It's the result of 2 different operating styles, of 2 different LBR Technicians. One Tech turned the Laser on sooner than another Tech. Plus, we had several LBR Cutting Lathes, at each of the Nimbus sites (3 in Nimbus VA, where I worked). Each LBR Cutting Lathe produced slight variations too.
One other thing that I mentioned, that can effect the inner mirror band, as well. When Cutting a longer length master, we had to adjust the Pitch and Velocity, in order to adjust the storage capacity of the Glass Master. When slowing the Pitch and Velocity, that caused the mirror band to shift in size too.
Great to have your insight from Nimbus here! One question = did Nimbus US have big label US customers besides Virgin America, which went away with EMI acquiring it? I rarely saw other majors using Nimbus US, but saw lots of Indie or smaller labels. Also, did Nimbus US do much export market pressing for non-US plants from the US?
Virgin was huge for us, as we were still an audio only pressing plant, when Virgin came aboard. Their orders were a big boost for us in the early days. Once we added CD-Rom, DVD, and X-Box pressing, those formats soon exceeded audio only orders. And we definitely did small label orders. Nimbus seemed to like catering to small runs. Larger production runs could intimidate management. No one wanted the responsibility of accepting a large 100K+ order. Too stressful.
Also, Nimbus did press for a lot of brokers. Businesses that advertised as CD replication plants, and then we produced metal work, with their unique Catalog Band, and pressed the discs. We even grew custom stampers for clients too. After, they pressed their discs from our metal.
Quite an excellent assortment from non Virgin US related releases
For whatever reason, I always remembered the audiophile labels. Lot's of DCC Compact Classics, Chesky, Water Lilly, and Mapleshade. Maybe I remember them, because they were always hands-on type labels. Reps always came for a tour. That's how I got to meet Joe Grado and Pierre Sprey. They toured the factory, then hung out with us in audio mastering, while they waited for test press samples.
question, some nimbus matrix cds says:
1:1 MASTERED BY NIMBUS
1:2 MASTERED BY NIMBUS
2:1 MASTERED BY NIMBUS
2:3 MASTERED BY NIMBUS
2:4 MASTERED BY NIMBUS
the minimum numbers means that are printed first on the CD plants?
I found that variations in some of my cds.
The 80s era UK Nimbus pressed CDs had a sticky feeling coating on them and they can’t be polished at all if scratched.
You don't want to know.
I'm not sure on these variations? I'll have to pull some of my Nimbus samples, to see if they trigger any memory of this, and why?
In my experience, this "sticky feeling" was due to the lacquer coating not being 100% cured. The curing process consisted of passing the discs though a UV curing light system, via a conveyor. If the conveyor speed was set too fast, this could throw off the UV curing process. While the UV was properly sealed to the disc, it still seemed to have that sticky feeling, regardless. I always wondered if further curing would correct this? Any one with a tanning bed, and a few tacky discs?
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