It's important to be aware that the following will effect time allowance: Recommended ideal and maximum length for vinyl. Submit the files at the sample and bit rate they were recorded at as no conversion will be required. This can cause it to increase phase, thinning the sound. The stereo width is often increased, especially in the low-mids, when digital audio is transferred to vinyl. You can use a correlation meter, making sure that is kept in the green area, or simply just convert to mono, listening if the low to low-mids have diminished. The stereo width within this range should be narrowed to near mono. This can cause the audio to be quieter then a dynamic master. The cutting needle doesn't react well to perceived loudness, caused by a minimal dynamic range. Alter your limiter's threshold accordingly to achieve this. Some engineers even remove the limiter altogether if no clipping is occurring. You should not have a Root-Mean-Square (RMS) peak of more then around -12db. This is due to a boost in treble, a result of the Recording Industry Association of America, better known as the RIAA curve that is applied when cutting vinyl. ReasonĪny sibilance is greatly exaggerated sounding far more harsh on vinyl then digitally. Sibilance is often located between 5kHz and 9kHz. Remove any sibilance from the high-hats or 'S' sounds from the vocals. This is the result of the needle swinging so far that it crashes into its neighbouring groove. Inaudible frequencies (below 20Hz) and low-subs (around 30Hz) pressed to vinyl can cause the needle to jump out of the groove. High-Pass Filtering TechniqueĪ high-pass filter to cut between 20Hz and 30Hz with a slope of around 18db. This is due to the overheating of the cutting head which is caused by high frequencies. ReasonĪny audio above 20kHz on vinyl translates into noise and distortion. The following topics are covered:Ī low-pass filter to cut between 16kHz to 18kHz, preferably using a butterworth type filter, with a slope of around 18db. In this tutorial, I'll show how to create a master specifically for transfer to vinyl. The knowledge for the mastering of vinyl has become vital-again. In my opinion, creating a complete master for vinyl isn't necessary, that is true, but tailoring a completed master is-that is if you want optimum sound quality.Īccording to The Guardian, Sales of vinyl in 2016 reached an all time 25-year high with no signs of a decline. There is no one-size-fits-all when mastering audio. That a well mastered track will translate equally as well on CD, as it would to vinyl. Some people say that a master for vinyl isn't necessary.

Do curved text in vinyl master pro