Choice Cuts is a new blog series where we ask the question all music obsessives love to answer: “What is your essential music?” We kick off the series with our music-obsessed and ever affable Chief Engineer: Andy VanDette.
King’s X – Gretchen goes to Nebraska
There is a soft spot in my heart for great three-piece bands. I remember the first time I heard “Over My Head” blasting out of Tony Dawsey’s studio. I have been hooked ever since. I love to see them live every chance I get. I keep hoping Alien Bean burns to the ground (in the friendliest, most non-violent way) so that I might have a chance to work with them again. I had the pleasure of creating a stereo crossfade on “Ear Candy” when they were mastering with Tony…
Go Radio – Close The Distance
Because who wouldn’t love to sing “Go To Hell” to a former loved one at one time or another. A great melodic rock record.
Metallica – Metallica
I have seen them live soooo many times. Nothing grabs me like this pre-loudness-wars album, although I wonder where in the production chain the first note of “Enter Sandman” got clipped.
Tony C and the Truth – Demonophonic Blues
My biggest hit album, that never was. 🙁 But I still love it!
Metric – Live It Out
I love the way Emily Haines goes from calm to crazed. She is one of the sexiest women alive today — besides my wife, of course.
Porcupine Tree – In Absentia
What can I say? Hands down the best sounding album I have ever mastered. Tim Palmer is a mix god.
Seal – “Kiss from a Rose”
Not the album that it came from — JUST “Kiss From A Rose.” I think it is one of the most perfect recordings of all time. Great song. Great arrangement, Great recording and production. It is soooo compressed but still musical. It was on the 1996 Grammy nominees CD, and they had to turn it down -4dB just so it didn’t obliterate all the other tracks. I use this and Porcupine Tree to check out different studios and monitoring environments.
Toto – Farenheit
Great songs; great production. I sing along with it when driving home late at night to help keep me awake…. Because you’ve never fallen asleep while singing, have you?
Rush – Moving Pictures
High school favorite (showing my age here) that always brings back momories of selling everything I owned to buy an Electro Harmonix Bass Microsynth pedal so I could make a WOOOOOSH at the beginning of “Tom Sawyer.” Richard Chycki did an awesome job on the surround mix. You MUST hear it.
Max Webster – Universal Juveniles
Saw them open for Rush in high school, and I must say I didn’t “get” Kim Mitchell jumping around on stage in a gold spandex jumpsuit yelling “Check! Check this out!”. It wasn’t until I got to college that I realized what killer players they were and how cool “CHECK!” really is. “In The Land of Giants” is my ringtone.
As consumers you know that the condition of the vinyl is very important in determining the quality of the playback. Tics and pops get much worse if the record isn’t stored right, or isn’t cleaned well. Sometimes visible scratches are audible and sometimes they aren’t. And sometime a good cleaning makes a world of difference… and sometimes it doesn’t. That’s because not all of the noise in the playback of the record is a result of the vinyl itself. The entire process from cutting, handling, shipping, cleaning, plating, pressing, cooling and packaging can cause noises to be introduced. But where it all starts is at the cutting stylus. If the cutting system produces a “dirty” groove, then the record will never sound quiet. So we have to scrutinize the quality of our cut on each and every lacquer we cut.
Poor groove quality can cause noise to be recorded in the groove due to a variety of issues. Here is just a small list of visible groove abnormalities that show up in disk mastering.
Streaks – If the cutting stylus picks up a tiny speck of debris it can cause the groove to be cut with parallel streaks down one or both of the groove walls. Some streaks are completely inaudible. Others cause bacon-frying static sounds.
Jagged edges – Either the top edge of the groove or the bottom edge of the groove can appear jagged. The first thing to be concerned about when we see a jagged groove is that the stylus may have been damaged. Each sapphire stylus will cut many sides, but if it strikes the aluminum plate or if it cuts over an imperfection on the disk surface, the stylus has to be replaced.
Stylus heat – Most cutting sytems use a small electrical current to heat the tip of the cutting stylus. This helps the stylus glide thru the cut like a warm knife through butter. If the stylus heat doesn’t match the lacquer black and/or the stylus, you get groove quality issuses. Both too hot and too cold are a concern. Both extremes cause hiss and surface noise to increase.
An Aside — First Edition Pressings
If you’re a collector of first edition pressings, you are already aware that they do indeed sound better than later pressings. There are several reasons for this, but the main one is that it takes a lot of effort and extra time and money to cut that first record. Independent mastering engineers and studios usually charge by the hour and are closely supervised by the producer of the record. Every nuance is considered, and for major label releases in the ’70 and ’80s almost no expense was spared to make the best sounding record possible. When a record sold very well, and had to be pressed again (second or third edition pressings), those later lacquers were rarely cut by the original mastering engineer. Each label had its own in-house mastering facility. And while in some rare cases labels spent the time and money necessary to create really high quality masters, the fact is that most did not. These mastering studios were run more like union shops and the managers and engineers were given the task for the day and in general they were not highly motivated to produce the highest quality product. I’m not saying that the engineers were less competent, as many of them had years and years of record making experience. But the equipment and the general quality control were just not as specialized as they were at an independent mastering studio like Masterdisk.
Chip Squeal — There is one more quality control issue that plagues the record making process. A high frequency squeal can be caused by many factors. This noise is the most dreaded of the cutter-induced noises. Sometimes is can sound like a buzz, or a very high-pitched whistle. It’s not loud, but it can clearly be heard in the quiet sections of a classical piece or in the blank sections between songs. It’s very difficult to make it go away and it can really slow down the process.
Many a sane mastering engineer has been thrown into a foaming stupor over this issue. I’ve seen it happen and it’s not pretty. In fact years ago one Masterdisk engineer used to take his personal frustrations out on the poor lacquers themselves. You see, if the lacquer chip doesn’t get picked up by the vacuum, or if there are ANY noise problems with the cut – you had to discard the lacquer and start the process all over again. It’s like glass blowing: your final product was either perfect – or it was scrap. You could tell when this engineer was having a bad day when there was a pile of V-shaped partially cut lacquers sitting in or next to the waste can, or sometimes against the wall outside his room where they landed after being thrown in disgust. He would bend the disks in anger over his knee. It didn’t help the mastering process at all, but maybe it helped him emotionally. Cutting a quality side is indeed part skill, part luck.
This demon goes by many names. Chip squeal, cutter squeal, chip drag and many others. In short, it’s a vibration – usually caused by the stylus skidding through the lacquer instead of smoothly slicing through. It can also be caused by the extraction of the chip. Now this part gets interesting. Chip is the tiny piece of lacquer that is removed from the disk as the groove is cut. The stylus is like a tiny plow or wood gauge that lifts up this hair-thin “line” of lacquer. A vacuum system then takes it to a jar for safekeeping. Safety is actually a concern as this nitrocellulose is extremely flammable.
So as this chisel-shaped stylus is carving up the chip the vacuum has to carefully draw it away from the stylus. If the velocity of the vacuum is too great, or the chip falls on the lacquer, or if the lacquer is too soft or too hard, or the stylus is a little caked with lacquer, or… (you get the point) then you can get a very high pitched squeal recorded into the groove. Remember that each and every motion of the stylus is analogous to the audio. The chip vibrates like a microscopic guitar string and that vibration can cause the stylus to move which creates undesired results on playback.
So if something foreign is added to the groove, it turns into audio when the cartridge plays it back. A scratch, a glob of lacquer, a squeal from chip drag, or even low frequencies transmitted from the building floor up into the turntable platter as it’s being cut. In fact if you stand right in front of the cutter head and speak loudly you will hear your voice played back in the recorded lacquer. That mechanical transfer of sound into the groove was how the original edifone worked. How cool is THAT.
If you’ve been following along this blog since week one, you now have a pretty good picture of how music gets recorded onto vinyl.
This seems like a good time to talk about record players and especially phono cartridges. I won’t even try to tell you what turntable is right for you; there are many factors to consider. But I can say for sure that you really do get what you pay for.
Not all records are “challenging” for the stylus. The least expensive cartridges will play back non-challenging grooves just fine. A $30 cart on a $150 table will probably have problems with higher levels and with high frequencies, whereas more expensive cartridges almost always provide much truer playback. But (there’s always a “but”) cartridges and turntables built for DJ use – even though expensive – are not the best at reproducing crystal clear music. It’s because the DJ cart has to be sturdy. It doesn’t give as easily and is weighted more; as a result it can distort on high frequency material. My favorite cart is one that balances all these issues. And since I don’t have an endorsement deal, you’ll have to ask your hi-fi shop what equipment suits your style and wallet best.
It’s interesting to note that the distortion we hear on sibilant vocal “esses” and cymbals is almost always NOT in the cut or the groove of the record. The distortion heard when playing back is a function of the quality of the cartridge, the condition of the record, and how squiggly the groove is. It’s the mastering engineer’s job to find the right compromise between level, brightness and playability. And it is always a compromise.
For example, I was once asked to restore some solo trumpet music. The masters had been lost. The client made transfers at a pro studio from mint vinyl before bringing me the digital files to clean up. The record noise was not the worst issue. The main problem was the horrifically bad ripping distortion on the muted trumpet. By the way, Harmon muted trumpet is a big challenge to cut cleanly as it has tons of high frequency content.
I tried everything I knew to reduce the distortion to acceptable levels, but I wasn’t getting anything I could use. It was a mono recording played back by a stereo cartridge, and I was working on just one channel at a time. But when I played back the stereo transfer, my ear immediately recognized the source of the clipping. What was thought to be peak distortion was actually caused by stereo “splatter.” It sounded like the trumpet suddenly went from mono to stereo and back but only on the bright passages. I knew that only stereo splatter could make that sound. The cartridge they had used for the transfer was unable to track those high frequency waves accurately.
I stopped what I was doing and contacted the client, asking them to send me their vinyl copies so that I could try a transfer myself. They were very hesitant, as they had spent a lot of money already to transfer and clean these recordings. (I forgot to mention it was a multi–disk box set!) But I insisted. When I played their vinyl on my best cartridge it was a beautiful thing. There was absolutely zero distortion. It sounded perfect. I played that same passage back on my cheaper setup and not surprisingly that ripping distortion was back.
So if you hear sibilant esses and a sort of glassy sheen on most of your vinyl, you probably could use a better or newer cartridge. Also, turntables need to be setup properly to achieve optimal results. Your record store turntable guru can help – or if you want to do it yourself, get this very good DVD: Michael Fremer’s Practical Guide to Turntable Set-Up.
It is often frustrating for our clients and for my cutting engineers when a producer gets their test pressing and doesn’t like what he or she hears. We have to wonder, “How old is their cart? Was it setup properly? Is the stylus clean? Is the turntable causing rumble or interference? Has the turntable been listened to regularly or was it dusted off and plugged in this morning to play back this one piece of vinyl?”
The fact that each turntable and cartridge sounds different makes it very hard to quality control masters and pressings. If you use a very expensive cart and turntable then nearly everything sounds perfect. If you use a very low grade consumer turntable as your measuring stick, then everything sounds distorted to some degree. Somehow you need to determine what level and how bright to make the music.
In my opinion, the best results are achieved by looking at both extremes. Then I try to determine what a typical listener will be using for playback. Then we come up with a compromise that fits our music and our listener.
Yes, it’s more work and costs more money to give a cut this kind of attention. But like I said — you get what you pay for.
(Read all of the “Scott Hull on Vinyl” articles here.)
The Recording Industry Association of America developed a standard playback equalization curve and required that all LP records and record players manufactured conform to this standard.
You have probably noticed that you cannot take the audio plugs from your turntable and plug them into an ordinary line input connection on your preamp. Well, you can, but it sounds horrible. The line input connections, designed for tape machines and CD players, do not have the RIAA curve. Every phono pre-amp must have this playback equalization built into it. Since most of you are probably not audio engineers, I’ll try to describe this curve by explaining why it was used.
If you were to cut an ordinary audio source (without the RIAA EQ) into a lacquer at a reasonably hot level you would notice two things. First the bass frequencies, with their long wavelengths, are so big and loud that they cause the grove to make really large squiggles. So large in fact that it would be hard for a cartridge to playback the squiggles. These very large cut grooves would take up a huge amount of space on the disk and limit your playing time to only a few minutes on a 12″ LP side.
The second thing you would notice is that records are noisy. Yeah I know, you already know that. But I mean a vinyl record is REALLY noisy. That audio source played back without the EQ would be mostly scratchy noise and clicks like you’ve heard from an Edison cylinder. The only way the LP works to make pleasing realistic music is for the audio to be pre-EQ’d so that the bass is reduced dramatically, by 20dB, and the treble is increased dramatically, also by 20dB. The original music returns when the opposite EQ is applied by the phono preamp.
See the picture above — this is the playback curve when the bass is boosted back up 20dB and the high frequencies are rolled off. The reduction in bass helps us get the 20 plus minutes per side and the exaggerated treble works as a very effective noise reduction. You see, the audio had it’s treble boosted before it was cut. Then surface noise from the vinyl was introduced on playback. When played back through the complementary filter, the hi end is cut and the surface noise is reduced but the audio returns to it’s original frequency response. Like magic. The resulting bass response of the LP was better than a 78 too – by a lot. And the noise floor was improved.
So that’s why an equalization curve was developed, and why the RIAA standardized it. For more info on this standard see here.
But even that’s not the end of the story. The big treble boost puts extreme stress on the cutting amplifiers; so much so that specially built circuit breakers need to be inline at all times to avoid damaging the (very expensive) cutter head. This high frequency emphasis also causes bright instruments like cymbals and vocals to distort if cut without care.
Listen to this quick before and after. It’s a sample of a track by the artist Danni (produced by Nik Fairclough).
First, here’s the track without the RIAA curve applied.
[soundcloud url=”http://api.soundcloud.com/tracks/10678187″ params=”” width=” 100%” height=”166″ iframe=”true” /]
This one has the RIAA curve applied.
[soundcloud url=”http://api.soundcloud.com/tracks/10678243″ params=”” width=” 100%” height=”166″ iframe=”true” /]
You will immediately notice the almost painfully shrill top end and dramatic loss of bass from the RIAA filter. It was never intended that the end user ever hear the RIAA encoded signal — a good thing, because it sounds terrible. This example illustrates just how much the music has to be pre-emphasized to effectively reduce the surface noise of the disk.
That’s it for my crash course on the vinyl groove and the RIAA curve. On to more aspects of vinyl next week!
(Read all of the “Scott Hull on Vinyl” articles here.)
Tim Boyce’s specialties lie in world, dance, dub, hip-hop, ethnic, remixed, and other genres, and his production credits include French Montana, SLDGHMR, Deathrow Tull, MSTRKRFT, Nightbox, and RAC. Tim’s creative desire to breath life into a static space allows him to finely tune an album into a living movement, not just a passive listening experience. If you need cutting-edge mastering, Tim’s your engineer.
Q: My music is pretty unusual. What kinds of things should I talk to my mastering engineer about before mastering?
A: With so many styles of music, and hybrid/fusions happening in both the live and production music scenes, it’s sometimes difficult for a mastering engineer to guess what the artist has in mind. Sometimes it’s obvious what path to take. For example, a ballad or orchestral work has a very different mastering approach than an aggressive club banger. But what about a folk song with traditional instruments (banjo, fiddle, acoustic guitar), synths, and a hip hop rhythm on upright bass? (It happens: I heard it last week, and it was awesome!)
If you’re making new cutting-edge music, or re-defining your sound by trying something new, it’s often best to let your engineer know exactly what you have in mind. Let them know you really want the bass larger than life, even though it might not be the most dominant element of the arrangement. Or that we are experimenting with filters on the banjo to make it sound filthy and really cut through the mix like a dance synth. Your mastering engineer won’t know unless you tell them.
Personally, I love working on music that pushes the boundaries. You should always be able to feel free to reach out directly to your engineer. We’re not mind readers, but we’re all very nice and we want you to be thrilled with how your music sounds. So reach out, and lets talk.
One of the most sought after vinyl-cutting systems in the world is the nearly indestructible VMS-70 and VMS-80 cutting systems built by Neumann. The VMS-82 was the last of these produced. I’m thankful to say that we get to use our VMS-82 lathe every day to cut lacquers for clients around the globe. (Fig. 1)
The actual cutting happens at the cutter head. In this case, the BMW of cutter heads, the SX-74. (Fig. 2)
Though it was initially built in 1974, this design was never dramatically improved. It was capable of cutting with sufficient level and flat frequency response to please nearly everyone.
The head has been removed from the lathe and is sitting upside down for viewing. (Fig. 3)
Now just a little closer look to see the working parts of this little marvel.
The two round “cans” on either side are the voice coils. (Fig. 4) You can also see the cutting stylus: a faceted sapphire glued to a pin that mounts in the tube that connects to each voice coil. Also in the foreground are two fine wires. These carry a small voltage that heats the stylus to an optimal temperature so that it slices smoothly through the lacquer instead of dragging and causing extra noise from a jagged cut.
The drive coils of the stereo cutter head are mounted at right angles. When there is audio in the left channel the left coil goes in and out, just like a speaker does. And when there is audio in the right channel the right coil goes in and out. One voice coil in the cutter head is wired deliberately out of phase so that when a mono signal is cut, as the left coil is moving in the right coil is moving out. Thus, a mono signal cuts a lateral groove that looks like this. (Fig. 5)
Why is this done this way you might ask?
We have go back to mono to find out. Early records, initially 78s and then LPs, were mono. Systems that cut mono records had only one drive coil and it moved the cutting stylus back and forth creating a lateral, constant-depth groove. There was little concern about the depth of the cut so long as it was deep enough to hold the playback stylus in the groove. Then along came stereo. Researchers needed to find a way to carve two channels of audio into a record but make the new technology compatible with mono records and players.
Unfortunately, today’s technology designers don’t put quite so much effort into forward- and backward-compatibility. That’s a soapbox speech for another time.
So what they came up with was to record the mono component of the stereo audio laterally, like on a mono record. Then by adding a second coil and wiring it “out of phase” with the first coil they created depth modulation which records the stereo or side signal.
If I’ve lost you, take a breath and read on; I’ll try to make it clearer.
Stereo is made up of a left signal and a right signal. OK, that’s simple. But stereo can also be described as the mono component (everything that is exactly the same in both speakers) and the difference component (everything that is different). This is commonly called Middle and Side, or M-S for short. A stereo signal can be converted into an M-S signal and back again with nearly no change at all. FM radio is transmitted in M-S. The middle signal is a strong “full wave” signal and it is this signal that you hear when you are far away from the radio tower. That signal is mono. As you get closer to the radio tower, your radio can tune in the sub carrier signal, which carries the difference (side channel). When you receive a strong enough signal, the FM station now plays back in full stereo because it has BOTH the middle and the side signals. It can be hard to believe, because we commonly think in left-and-right rather than middle-and-side. But it’s true. It’s a matter of physics and alternating current electronics. Are you still with me?
The groove shows us the “difference” signal by it’s depth. So a mastering engineer speaks “lateral” and means the mono aka “middle” signal. And when the engineer says “vertical” he or she is referring to the “difference” aka “side” signals. Got it now? Good.
Once you have a hold of that concept then we can start to talk about why some records seem to make the vocals spitty and sibilant. And why some recordings have to be modified with equalization to minimize out-of-phase bass.
But there is one more thing to understand before we can control our quality. It was a standard developed in the 1950s called the RIAA Curve.
Next week I’ll talk about what the RIAA curve is, why it was standardized, and what steps we have to take to make records sound really good.
(Read all of the “Scott Hull on Vinyl” articles here.)
As disk cutting engineers we are always looking at sound. We have a microscope mounted on the record cutting lathe and we use this scope to determine the quality of the cut and to diagnose problems when they occur. We can also measure the groove width and separation between the grooves. The space between the grooves is called “land.”
So, What do the squiggles mean? Lets look at the record groove closely. Very closely.
In the microscope a simple quiet groove looks like this. (Fig. 1)
There are four grooves in this picture. Each groove looks like three “lines.” The light from the scope lights up the bottom of the groove and the top edges. This is a picture of grooves cut in a fresh lacquer. It’s a very clean and quiet cut. This groove would make a very good sounding – albeit silent record.
When we add music to the picture this is what can happen to our cute little grooves. (Fig. 2)
We can notice the grooves move back and forth and they get fatter and skinnier.
Other things we can notice are that there are large sways in the groove that look a little like sine wave. These are the bass frequencies. Bass frequencies have large wavelengths and when cut they make the groove move in long sweeping curves. They’re so long I can barely get part of a wavelength in one slide.
We can also see grooves that have tight little squiggles that look something like fish scales (center). These are the higher frequencies. Instruments like a cymbal or trumpet can make the very tight squiggles like those in the middle groove.
These sharp, high frequency squiggles are something we’re constantly dealing with. The sustained bright “S” sound is a particular challenge. In fact, there are so many reasons why “esses” are problematic I’ll devote a whole blog entry to just that.
The goal is to cut a “bright” groove that can still be played back by a standard quality needle and cartridge. If the movements of the groove are too sharp and bright, not all playback cartridges will be able to track the groove accurately. When a needle fails to track the groove you hear a fuzzy sounding distortion. A stiff DJ cartridge—one that is durable and can stand up to scratching and back cue-ing—will often be too stiff to accurately track all those sharp turns. “Hi-fi” cartridges are designed to have the flexibility to track those turns accurately. The trade-off is that they tend to be very delicate, and expensive.
In Fig. 3 we have cut some sine wave tones so that we can see more clearly the independent movement of the left and right channels.
This is a really interesting slide. It wasn’t easy to get all four grooves in one picture—and it wasn’t edited together in Photoshop, either!
The first groove on the left is a recording of a 4,000 cycle tone (4kHz) in both left and right channels in phase. Since the signal was in phase, the depth of the groove is constant, and you simply see the sine wave wiggles of the left and right walls. The left wall is the left channel; the right wall the right channel.
In the second groove you can notice that the left wall is straight. The left channel is silent and the right channel is playing the test tone on it’s own. Since the two channels are not identical in this example, the groove gets alternately deeper and shallower. This is because the channels are not in phase and it causes the playback needle to rise and fall. Remember that even though there are two channels of audio, there is only one point where the stylus touches the record. The movement of the groove, left and right, up and down, is completely analogous to the movement of the left and right speakers upon playback.
In the third groove both channels are off. This is our silent groove like the first photo above. And then the last groove has audio on the left channel and the right channel is silent. I love this slide—because it clearly displays what motion is shared by both channels and what is independent motion.
Next week we’ll look closely at the cutter head.
(Read all of the “Scott Hull on Vinyl” articles here.)
I find it interesting to allow the music to tell me what it needs. Here are a couple ways that I do that.
I let the producer or artist describe their thoughts about their record to me. Who was it written for? How was it recorded? What are the ideals, goals and purpose in producing this music? I find that not everyone has thought this stuff through. Sometimes the purpose of making the record IS the making of the record. How the producer describes their goals will give me a lot of foundation to base my decisions on. This is really the art of the craft of mastering. Listening with an imagination. Not as often about achieving specific ideals of loud or bright, but finding out what can and should be done to help the music communicate those goals.
Instead of asking “who do you want your music to sound like,” ask “Who is your music composed for?” And “how would you like them to react to it?”
Initially, everyone wants their music to be everything, for everyone. But if the artist is experienced they can tell you why they made the music, where the emotional references come from and how the listener should relate to these emotions. Deep stuff right? But the answers to these questions lead you to a starting point that preserves the musicality of the record, and makes it stronger emotionally and justifies all of the hard work getting the recordings to this point.
There really is no shortcut for experience, but if you ask good questions you can hope to get good answers. I find that these answers put me in a state of mind — ready to listen. Turning the knobs is the easy part. Determining where to aim, where the “target” is takes a lot of thought, an open mind and careful listening. It is very easy to substitute my goals for the goals of the music. Listening carefully and asking the right questions is step one.
If you haven’t thought much about what your music is saying, try to answer these simple questions. I bet it will help you make decisions along the path of making your music.
Who is your ideal fan / audience?
How will they listen to this music? Engaged and absorbed? Or while working out? On a dancefloor? While driving?
Is your audience tied closely to your live performances?
What would your ideal fan expect you recording to sound like?
Do you want to surprise your audience, either with variety of subject or sound?
And on the technical side:
Do you really understand what happens to your music when you compete for level (loudness wars)?
If your project needs to be loud and “shout” then you really must address that issue in the composition, and in the recording and mixing stages. Mastering alone can not achieve all of that despite what the ads and equipment designers claim. Any project that was recorded with the goals clearly in mind, will almost master itself and have a much improved chance at success in the long run.
Today we’ve got a question from a reader about how her track was affected by mastering (at another facility). Scott Hull answers.
Q: I had a song mastered and the vocals seemed to sound harsher, with a loss of ambience. Can this occur from the mastering?— Sherri
A: Sherri, thanks for your email.
The effects of mastering can be very profound, both positively and sometimes negatively. An “average” engineer might have been taught or learned to brighten the midrange and high-end even if the music doesn’t need it. As a veteran of thousands of mastering sessions, I can tell you that the hardest thing to learn was when not to “master”.
I can help you get the sound you are looking for. I will give you a free song / mix evaluation ($99 value) — for free! Just for sending us your great question.
You don’t have to compromise. The right engineer can make a world of difference.
How do we listen to CDs and MP3s? We hear them in the car, while jogging, over computer speakers while we blog (as I am now, listening to yesterday’s mastering project, Dave Matthews), and from the tiny little ear buds plugged into our iPhones.
How do we listen to records? We take the record out carefully, and often we’ll clean it. We double check the tone arm balance and anti-skate, we set the first side on the platter, cue the tone arm and sit back and listen,often playing an entire side, maybe even with our eyes shut.
It’s no wonder we have a different relationship with our records than we do with our CDs and computer files. The format engages us on many levels. Records have to be stored and handled carefully or the experience is lost. We’re rewarded with better sound when we spend a little extra time with an anti-stat gun or a record cleaner. The playback sounds nearly the same as it did years ago when we fell in love with music. And I haven’t even mentioned the larger graphics and interesting packaging.
So, I guess I am preaching to the choir, right? All of you understand why you are vinyl junkies. You can justify spending hundreds of dollars on a turntable and pre-amp since it helps you love the music even more. That really is wonderful and I hope all of you have had that experience.
We’ve all heard that the younger generation has rediscovered vinyl. I had a client in my room the other day who told me a story about a young man’s vinyl conversion. A son of a friend of this man was a huge Bob Dylan fan. In fact he believed that he possessed every single downloadable Dylan recording and was very proud of the history and folklore, which he knew by rote.
One day my client invited this friend and his son over to hear his very expensive and detailed record playback system. They left the room for a few minutes to talk, as the son was absorbed in listening to a familiar Dylan record. When they returned they saw he had been crying. And he told them that he had never really heard the album before. It was like everything he knew about Bob Dylan was only on the surface. He had heard the songs a hundred times before, but played back on vinyl it was mind blowing.
Next week I’ll get into the geometry of the record groove. It’s deep!
(Read all of the “Scott Hull on Vinyl” articles here.)