SH Spotlight NEW! Your questions answered: How to properly master an audiophile vinyl record..

As suggested by Steve Hoffman,for don't hijack other threads,I start this with the background:
↑
Steve said "I've mastered over 500 albums to vinyl all using the wide dynamics of a good sounding master tape. Not a problem.

Cutting a record from a manipulated tape copy aka "Production Master" aka "EQ Copy" aka "Lathe Copy" aka "EQ and Limited Production Master" is only done when a producer demands it or the original is gone. Cutting a record from one of these production dupes otherwise is just lazy.
"

I said "Can you confirm that the works you worked in mastering have never, compared to the original master, undergone any compression intervention with consequent reduction of the dynamic range, no equalization intervention (with consequent modification of the energy curve of the signal)?

So can you explain to me how you can "channel" the peaks of +15 db that you read on the Studer instruments?

Adjust the zero db of its finished product on the peaks of + 15 db ? And where do the pianissimo go?

I could almost believe it for CDs, for vinyl it's IMPOSSIBLE.

You, in your CDs, put practically all the features of the original master in terms of dynamics.'↑

Steve said "I can confirm it, yes."

I said "For me the dynamics of a 1/2 inch tape at 38 cm/sec in a vinyl, it doesn't even fit in a dream."



I was able to get in touch with professionals in the field of current Italian recording studios, I listened to master on reel at 38 cm / sec (direct copies from master).

The different language and my bad english don't help to understand,but if you do not equalize, do not compress ...What did they pay you to do? For copying the master ?

If you have not compressed the master, it does not mean that someone has not done it, during cutting, for example ... But someone must have compressed.

The dynamics of a somewhat cheerful analog recording, 70s and 80s, on vinyl just does not enter, unless you transfer to such a low level that the record, on standard systems, would sound empty and lifeless. And it doesn't seem to me that your works sound like that.

I have all the Prestige series at 45 RPM 100 AP titles , all the Blue Note 50 titles and the 25 Impulse titles ,20 years ago I was a subscriber and all the records have the same number (under 100) and are signed by you and Kevin Gray,and they are amazing, for me to date the best version of the existing title.

I wrote what I wrote because based on my knowledge,the process that leads from master to cutting can not not to have dynamic compression / limiter. So much so that the signal that drives the engraver stylus is delayed compared to that managed by the control electronics precisely to allow the timely intervention of the compressors.

I listened to the masters that have peaks at +15 db, and many audiophiles do not even have the faintest idea of what is the dynamics of a master.

I wish to understand where you calibrate the zero db of the cutting from analog master ( to 0 db of the recording or to, for example, + 15 db of the recording ) will be all clearer and above all, if it calibrates to 0 dB, how does it handle the peaks over 0 db ?

 

The "trick" is of course not hidden, even though many want to believe you just hit play and a lathe transcribes untouched what's on a tape. Good argument to be made here for avoiding tapes that are either dupes or re-EQ so you're not doing the magic (summing, high end roll-off, etc) multiple times, no? Dare I say then that in the case where you only have access to a master tape for a short period of time it'd be best to, I dunno, do a DSD 256 clone and then perform these tricks off that source, rather than claiming some ontological analogue purity signal chain while rely upon previously futzed with or at the least repeatedly copied tapes? I take it there's a thread about that elsewhere...

Thanks for the fine post, and for providing this virtual asylum for us lunatics.

 

Thanks to you & @Piero for that extremely informative info!!
One question about bass summing for vinyl: I've seen engineers online saying wildly different answers, from centering everything below like 250Hz (?!?!?!) to summing everything below 100Hz being just fine. On masters I've provided to clients for vinyl duplication I've stuck with summing 80 Hz and below as I didn't want to neuter the bottom of certain side-signals too much, and hoped that might be plenty...
What say you, @Steve Hoffman?

 

I primarily mix (and semi-often have to master my own mix) for modern hard rock & metal bands... So, up to 24 mins per side, huge bass lots of sub info, not very dynamic (usually only allowed to get away with what measures @ 7, 8 or 9 DR/LUFS, maximum...)

I've heard that I should just leave the vinyl moves for the cutting engineers themselves @ the plants, and prob just roll a "vinyl cutting masters are the liability of the client" rule into contracts, but these days w/ all of the incessant horror stories of distorted vinyl pressing problems I'd like to minimize chances of my work getting squelched if I can help it!

Best to leave it up to the cutting pros, I suppose?

 

True bass and kick are mono but a lot of bands have ultra-low tuned hard/panned guitars these days, where I usually keep everything above 80Hz on those in tact, so when I see people online saying "sum everything below 200 Hz for vinyl" my gut says that is b.s. but it also makes me paranoid

 

Awesome that's exactly what I hoped to find out, thanks very much Steve!!

 

Yeahhh I always assumed mastering the ol' bass-left/gtrs-right type of mixes are more of a brainbuster for you guys!

 

I don't envy you on that end! Being primarily a mixer it just feels much more like a "get in there & go wild!" scenario, but whenever I have to Master/Remaster in general (nevermind cutting vinyl!!) the sweats kick in and all I really feel is a sweaty "DONT F*€k THIS UP, CHAMP!" Vinyl cutting would likely make me have a cardiologist on speed dial

 

One of my most favorite and informative posts, ever. Thanks!

 

Yeah, considering that middle C is 262 Hz, summing everything below 250 Hz to center would be very noticeable. Kevin's preferred threshold of 100 Hz seems reasonable, though.

 

Steve, can you explain what differences there are for you to remaster at 45RPM vs. 33?

Also, there has been some debate as to the sonic benefits of remastering at 45RPM. What are your thoughts on this?

Thanks.

 

Interesting topics and discussion.

Steve- any thoughts on mastering with solid state versus the tube/valve consoles?

 

How do you account for the great sound of the UK Abbey Road 2/1 first pressing. Long sides and Lots of bass in left or right channel. Come Together and Something come to mind.