Want to install your vinyl recording in your home? Musicians have a trend to create persuasive packaging to inspire listeners to consume a physical product. One way that artists stand out is to sell vinyl albums.
This retro format is a feasible way to cut through the chaos and make the music heard. If you want to put your music on an old-fashioned album, here is what you need to know:
- Making a vinyl album takes a lot longer than making a CD. Expect to wait for your record close to eight weeks.
- Not everybody’s got a record player. Indeed, as tempting as it is for having your songs on vinyl, the vast majority of your fans won’t have the right equipment to perform them. Just a few hundred albums are printed by the average artist. But that won’t be a big problem, famous brands like Victrola made some decent record players come at a very affordable price. People can get one for just around 100 bucks.
- You can sacrifice any faithfulness. If you pair your music with the modern style of pretty heavy bass, it may be appropriate to dial it down into the vinyl medium’s limitations. You can also find that as you switch to vinyl, the high frequencies decrease.
- There’s not many music on a vinyl album. You would have to remove songs from your CD to match the vinyl restrictions. A 33 1/3 rpm 12-inch record holds just about 18 minutes on one side and a 45 rpm 7-inch record holds just about 4 1/2 minutes on the other.
Preparing Vinyl Violin Recording
You should be confident that the sound is correctly replicated on the LP, from a low frequency of 20Hz up to around 20.000Hz. Because vinyl is reacting regularly from 7Hz to 50 kHz and beyond with over 75dB of dynamic range.
Basse frequencies and volume levels are two factors which consume precious vinyl assets. That is because a record groove is a literal replication – an analogue – of a sound wave grafted onto vinyl. Louder sounds get clearer and larger, at the same time.
The lower the sound level, the more out the groove swings from side to side. The more far the groove swings out, the more space it needs to prevent it breaking in the surrounding grooves. Finally, the more room the grooves consume, the shorter the clip.
Below we will discuss the key stuff when mixing the vinyl tracks.
About The Bass
In this case, though, there may be too much good. Exceedingly low frequencies (anything below 40 Hz) will cause a turntable needle to swing to the side that it flows across to a neighboring groove.
This dilemma can be solved by ensuring that the bottom end of the mix is regulated and tight. Finally , make sure the mix relies on bass focused sound sources.
Besides the very low frequencies, your vinyl record also has two things to consider: stereo and out-of-phase detail. The material of stereo bass needs much vertical movement in the stylus, as the groove varies rapidly in depth.
Skips can easily induce because this radical groove geometry. To address this, all bass frequencies below 100 Hz should be oriented and hard-panning bass details avoided.
No matter what type of device you own, even you have a Hi-Fi turntable under $500, 1000$ or more it can’t help you with a poorly polished record.
The Treble Taming
Extreme high frequencies, such as extreme highs, have their own special challenges. Audio data above 20 kHz will overheat your cutting head and allow your record noise and distortion. Especially troublesome are instruments such as hi-hats, tambourines and cymbals.
Be aware of how high end knowledge instruments are put in your mix. Pay heed, among other instruments, to the hardness of drum overheads, percussion and high-end distorted guitars.
De-essing should be handled during the mixing process, because if the album is reached without adequately handling sibilance, the best way to eliminate these sounds is to use a de-esser for the whole mix and could have a detrimental impact on other components in the record. While a de-esser eliminates sibilance, it does not only eliminate sibilance.
The RIAA curve basically decreases bass material and increases treble while recording. Without this curve, low frequencies would eat up so much room that you would only be left with a 12-inch side of just five minutes – not an LP.
In addition , increasing the triple at this point significantly decreases the high-frequency surface noise that would otherwise create even the quietest vinyl.
The RIAA curve provides more room for album music by reducing the amount of bass details by making it triple louder, thereby dramatically reducing surface noise.
This often includes a special phono preamp – the preamp uses the opposite of the RIAA curve, in addition to amplifying the slight voltage produced by the turntable cartridge, to precisely return the music to a natural equilibrium.
Pay Attention To Volume
As we mentioned earlier, you must be careful about the volume in planning your vinyl record. Do not use brickwall borders or finalizers in your combination.
Since the average level of a digital track is limited, it will ironically allow the vinyl album to be cut at a louder volume, to prevent distortion.
Often note that, while the total volume of your album can be changed in the mastering period, the mix is almost impossible to separate individual instruments and vocals.
You won’t have to sacrifice volume by making a mix specifically for your vinyl release using the advice and tricks listed above to prevent distortion.
Speed, Time And Distance
In addition to the basic improvements to ultra-low and high frequencies, your vinyl release involves a couple of other critical factors including duration, speed and distance.
A record spins at a constant rate, irrespective of whatever portion of the record the needle reads.
As the groove spirals indefinitely inside, this ensures that in a record of 12 “the longitude of the groove revolution is slightly shorter – about half the duration currently – than the duration of the groove at the beginning of the record.
When audio is being moved closer and closer to the middle of a song, the slings of the grooves are pressed together side-by – side, which significantly impact the ability of a stylus to track this detail. As a result, an album is missing certain high-end frequencies roughly halfway into an LP.
One good way to compensate for this consistency deterioration is by arranging the songs creatively. You will optimize sound quality by putting at the beginning of the album your warmest, most energetic songs.
Reducing the average song ranges, sides or even the entire album will also make space for more and better grooves. When you have shortened songs and lowered your album for more than 40 minutes, try releasing a double LP.
Additionally, producing your album as a double LP will have more room to spin at 45 RPM rather than 33 1/3 RPM normal, thereby further improving your sound quality.
Convert Analog To Digital?
Some people fear that pressing a digital master vinyl record defies the very intent of an LP and the analog listening experience it offers. There are a few reasons not to be concerned.
One is that the very act of a stylus which tracks your record analog groove is responsible for a lot of the warm, lively sound of vinyl.
In addition, the particular method of mixing and pre-mastering that includes the production of a vinyl master inherently affects the quality of your music, no matter if this master comes from a high-resistance WAV file or analog reel-to-reel.
If an accomplished producer blends and masters the music right, vinyl can almost certainly sound different from its modern equivalent.
Now that the resolution of high sample rate and bit depth is feasible, it is not just fair for a vinyl master to be cut from a digital image.
Sweating The Details
When an album is mixed and premastered correctly, it is ready for the cutting studio where an engineer can turn the album lacquer.
At this point , it is important that your mix is followed by sufficient documents and details to prevent undue delays in your pressing timetable.
You’ll need a full tracking list including the names of each song (don’t forget to include secret tracks or bonus tracks), track times and the break point between side A and side B.
The breaks in songs must be just how long you like them on your pressed album.
Finally , make sure your vinyl record pressing facility is able to collect your lacquers. A lacquer master is adaptive to nature because it is soft enough to be quickly sliced by the cutting head of the lacquer.
You need not cut until your plant is equipped with details about your shipment and ID and able to start working with your lacquers as soon as you reach the factory.
How To Get Your Vinyl Records
After you’re glad for the last test cut, the mechanic will cut the last 14-inch master lacquers (one on the A side and one on the B side).
You should take a perfected stereo file and head to a pressing plant right away. This mastered file is not completely suited for vinyl, however; it is doubtful that it would sound so fine as a lacquer cut from a dedicated mastering house.
Cost comes in to play here, of course. A committed master’s engineer with several years of experience can still obtain a higher overall outcome.
This is a very important step, because when you own the album of the most famous violinists that you admire, you will want to have the best record.
Experience normally comes at a higher cost and other options are available. If you have a cap, you might dream about having a broker who can practice one-off pressures.
If you’re on a label that can record your vinyl, deal closely with the people in charge and decide how many albums you can collect.
But if you go alone, you would need to supply a producer and pay yourself for those documents. In this scenario, budget alone could be the engine behind when and how you generate your documents.
If you want to save money and get love from the underworld, dream of making an ultra-limited run. It could be more economical to manufacture a limited run and a way of supplying the fans with the kind of LP that any vinyl collector enjoys.
And if you want to press more than you can spare, a small first press can calculate the appetite of fans and help to justify more investment on the next press.