Umísťujte náročné, exponované skladby na začátek a ne na konec každé strany desky. Podmínky záznamu i snímání se u vinylových desek se zmenšujícím průměrem ke středu desky zhoršují a to zejména pro vysoké kmitočty.
signál nesmí obsahovat nepřiměřeně velké složky na dolním a hlavně pak na horním konci pásma
Nejnižší kmitočty akustického pásma pod cca 300 Hz musí být ve fázi. Pokud je při sloučení obou kanálů do mona patrný nápadný úbytek basů, znamená to, že snímek je nevhodně zpracován pro vinylovou desku.
Odfiltrujte složky signálu, které se nepodílejí na subjektivním vjemu při reprodukci, tedy subakustické signály pod 20 Hz – lépe už pod 40 Hz a složky na horním konci akustického pásma - nad 16 kHz. Předejdete tím problémům při záznamu i reprodukci.
U nahrávek, které se rozložením energie v akustickém pásmu výrazně liší od přirozených zvuků (pro které byl během historického vývoje tento záznam optimalizován) může dojít při přepisu ke slyšitelným změnám ve zvuku v důsledku omezení, která plynou již z principu mechanického záznamu a reprodukce. Jedná se např. o zpěv upravený různými procesory, elektronicky generované efekty apod. V krajním případě, kdy by nevhodný signál mohl způsobit poškození záznamového zařízení, bude zpracování odmítnuto.

Next limitation: treble. You can put as much treble on a DAT or CD as you want. Unfortunately this is not true on a record (or analog tape for that matter). Although 25kHz response is possible, excessive transients are a problem.
Ever wonder why outside diameter cuts on a record sound clearer and cleaner than inside ones? Unfortunately it’s a fact. Why? The answer is geometry, curvature again. One turntable revolution at 33 1/3 rpm on an LP takes 1.8 seconds. That 1.8 seconds is spread over a circumference of 36 inches on the outside of the record. At the minimum allowable inside diameter that same 1.8 second revolution would only cover 14.9 inches. You can see from this, that a gentle wiggle spread over 36 inches would get quite ‘scrunched’ over 14.9 inches. A jagged groove at 36 inches would get really scrunched at 14.9 inches (remember the rapids). Excessive treble can even cause the cutting stylus to accelerate so fast that its back edge wipes out what the front edge just cut! It’s unfortunate, but treble rolls off, and distortion goes up as you approach the center of the record. It is quite gradual, but if you compare the source recording to the disc, this actually starts to become noticeable after the second cut or so. Any attempt to compensate for this by boosting the treble, only makes the problem worse (greater curvature remember).

There is a lot of poking and prodding that is often done to get the stereo signal to fit into place, because the LP has less information on it than the original master tape does. Often, you’ll see mastering engineers roll off a lot of the very low bass and add a false bass peak around 200 Hz or so, just to compensate for the mechanical limitations of the equipment. The other alternative is to reduce the running time per side radically.

Some vinyls are cut from CD-rips. I think..90% of the reissues is cut from the CDs - which does not make any sense. CD quality with clicks, pops, wow, flutter and so on.
As for reissues being cut from CDs, yes it's too common but usually comes down to what the label/copyright holder makes available to the cutting engineer, budgets, or the condition or existence of analogue source tapes or digital high res archives.
The volume limitations of vinyl are all imposed by the ability to track the record without skipping. Low frequency excursion and excessive upper midrange material such as sibilance are the main limitations to level.

the first mono basses then careful about highs I´m making high cut about 16kHz...

1)
cut off the infrasub below 15Hz.. tone arms resonate around 5-10Hz and the needle will jump when played back on turntables...
2)
check the phase alignment of everything below 500Hz .. should be very mono. how do you check? with a phase meter (keep it green) OR simply press MONO on your mixer / amp and listen if the bass is diminuished.. if so take out that cathedral reverb from the subsonics! .. kepp the stereo-wideners up of 500Hz!
3)
carefull with hihats around 8.4 KHz .. or "S"-tones in vocals... DE-ESS the shit out of it, really do... they will sound MUCH more aggressive on vinyl - you are going to regret it... the SHURE SM58 sounds like crap when recorded on vinyl.
for dance music I place a "safety" sharp butterworth 5 or 6 LO-PASS filter at around 18.5 or 19 KHz to avoid intermodulation of highs to lower frequencies (happens sometimes) ..
and the most important rule:
4)
keep it very, very slick and fat. weak mixes will sound terrible on vinyl.. good mixes will translate good even if the cutter is lazy or has a bad day.
5)
dont exagerate with loudness... that especially applies to vinyl. -12dB RMS is really hot enough.. the cutter should decide how hot he can print the whole plate...
6)
for 33 1/3 RPM (dance): keep the side under 15 mintes IN ANY CASE or it will sound like garbage. under 12 minutes will shine.
for 45 RPM (dance): keep the side under 9 minutes IN ANY CASE or it will sound worse then 33 1/3 (good 33 1/3 is superior to bad 45er cuts). for very loud an d crips records stay under 6 minutes for a 45er cut. these ones are my favourites..
7)
if you dont do much bass and you have a more "hifi-ish" recording try DMM (direct metal mastering) .. it sounds pretty close to heaven if done properly

in case your masters are very, very dense and carry a lot of mid+high energy then do it.. the background of this is that certain high energy around 18-22 KHz can intermodulate with lower frequencies and sometimes you get strange effects.. in my case I had the borders of the vinyl groove jagged like the grand canyon.. you could see it under the microscope! so if the needle was going deep into the record (expensive hifi pick up) you woudnt hear the distortion, but on the robust yet unsensitive club pick-ups there was a terrible rock n roll ish distortion all over the record cause the needle was getting crossmodulation from this jagged borders...

Prospero píše:"A prece se toci!"

Prospero píše:"A prece se toci!"

eficak píše:noaidZvlast ticha klasika leze z LP plne a doopravdy.