What's the difference between "mastering" and "cutting" an LP?

I used to think "cutting" a vinyl LP was just slang for "mastering" and I'm pretty sure it's often used in that way. But is there in fact a distinction? If so, where does it lie - meaning, at what stage in the process does the mastering end and the cutting begin? And is it at all common for the mastering to be done by one person and the cutting to be done by another, or is that quite rare?

 

You were right.

 

"Mastering" is the last subjective decision making process in the creation of an album, and is done before "cutting". Mastering may involve equalization (balancing frequency response), leveling relative amplitude between cuts, adjusting spacing between cuts, using other signal processing devices or software (for adding echo or compression, for example)... in other words, all the last minute adjustments to the music after mixdown of the "master tape". Adjustments through mastering are typically required, because individual tracks may be recorded at different locations, at different times, using different equipment, different instruments, different players, etc., etc., requiring that the final product have some smoothing done to it to create a more integrated, consistent feeling whole.

Cutting is the last step in production of the physical lacquer, which will ultimately be used to produce vinyl records. During cutting, the master tape is played back, mastering adjustments are applied to the signal, and that signal is then sent to the cutter head.

 

I have wondered this as well and think I have a better understanding now.

I have a number of lps where the cd was mastered by Bernie Grundman and the vinyl was mastered by Stan Ricker. In this instance John Frusciante is the artist. I now notate that Stan mastered the vinyl in my catalog. Yes, I catalog my lps. In this situation, it's my understanding that Stan mastered straight from the master tape. Sure sounds like it.

This seems common with Sterling Sound these days as well as I will notice that the cd was mastered by Steve Fallone and the vinyl is mastered by Ray Janos. In this instance TV on the Radio is the artist. In this situation, it's my understanding that Ray likely mastered from a high-rez file hence it will have a different mastering than the cd. They at least recommend it to the artists.The lp sounds signficantly better than the cd. Not analog but a very good mastering.

If I've stated something that is inaccurate, I apologize but this is my understanding at this point. Just trying to learn.

 

Now I`m confused, I thought that "Cutting" (with the lathe) was the last physical process involved in mastering .

 

The first quote is the short answer. The second quote is the long answer.

 

Some people make a distinction, for example the recent Miles Davis "Bitches Brew" vinyl reissue says "mastered by Greg Calbi and Mark Wilder, lacquers cut by Ray Janos, assisted by Steve Fallone".

 

I am STILL confused! Our host says that it's the same, and you say that one comes before the other...

Operating a tape machine and a cutting lathe sounds like two different crafts to me. I have no problem imagining someone mastering both. But the opposite (a different engineer required for each) seems also possible...

 

To further answer back2vinyl's question, "And is it at all common for the mastering to be done by one person and the cutting to be done by another, or is that quite rare?"

I don't know these days, but back in the bad old days, the mastering engineer in the cutting room would put up the master tape and spend the time required to decide what changes were needed to make the final product better. Copious notes were made to indicate all the moves the mastering engineer would have to make each time a lacquer was cut from the master tape (not an eq copy).

Moves would include master volume slides, L & R volume & panning incremental changes, Equalizer and other signal processing settings, etc. Typically, with a lot of moves to make, the engineer would make them during the fade of one song (where they wouldn't be noticeable), so they'd be in effect at the beginning of the next song.

The master tape would be properly stored (tails out) with the mastering notes included, so another mastering engineer could pull the tape off the shelf and cut parts (following the notes) that were identical to those cut by the original mastering engineer.

The first time(s) lacquers are cut, after approval of acetates (disks that are test cuts and actually played and listened to), an eq tape copy is recorded simultaneously to cutting. These eq copies, which require no further mastering because they already include mastering changes, are sent to other countries for 2nd generation disk cutting there, and are held as backups in case something happens to the master tape.

So the original mastering engineer usually cut the first parts that went into production of the initial vinyl orders. Subsequent runs could have been cut by the original mastering engineer or another engineer in the production process.

 

I don't remember any Playboy magazines in the cutting room. I do, however, remember lines of cocaine.

 

Read between the lines.

Operating a cutting lathe is fully automated once it is started. All the moves made on the mastering console are automatically done by the cutting head on the lathe.

 

Nice post!

So we now know what engineers of the 70's & 80's were up to - but what about the 'pre-coke' era? Playboy? whiskey sours? I presume they didn't smoke around all that equipment.

 

I wouldn't presume that at all. There was a time when almost everybody smoked.

 

Everybody smoked everything anywhere back then.

From my experience, musicians, producers, managers, etc., would look for a private place, find an empty disk mastering studio, and go in. The mastering engineer would innocently come wandering in to do some work. There would be the usual nervous apologies, which were accepted as long as there was sharing.

 

I was being a bit facetious of course! When I think about those smoky rooms full of electric & electronic gear I can't help but think of all that oil slowly but surely tarring the innards, gumming up contacts, and so on.... Ugh!

 

Of the equipment or of the engineer?

 

I've seen the term cutting being used for both processes. I guess people can't quite agree which of the 2 definitions is the correct one. So I don't think there's a clear answer for the original question.

 

By the way, John Cippolina was amazing to watch. The way he and Gary Duncan played leads around each other in Quicksilver was something to behold. And in reality, they were just kids at the time. Their concerts in S.F. were some of the best shows I ever saw.

 

I disagree.

Cutting is cutting and is only used in physically producing a lacquer for records. No particular art to it... just starting the lathe, and letting it do its thing, basically.

Mastering is an art, which requires numerous skills, not the least of which is an above average musical ear. It also requires excellent organization skills in order to make the physical moves while playing the master tape/file, as well as being able to clearly document the process. It requires the ability to effectively operate various types and pieces of physical outboard signal processing equipment and/or software. Actually playing an instrument is helpful as well, as it enhances one's understanding and feel for the subtleties in music, such as harmonics unique to a particular instrument. And mastering is required whether the final product will be vinyl, CD, tape, DVD, whatever.

With all due respect to our host, to say cutting and mastering are the same thing is, IMO, an arcane statement and a major oversimplification.

 

This thread is really the best because it encompasses everything that I love. Sex (the Playboy magazines), drugs (the lines of cocaine), and rock & roll, (the music being mastered).

 

What about blowing off the bits of lacquer?

 

The modern lathes vacuum up the lacquer material as it is cut from the surface.