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High-end-mastering with the Tubecore mix- and mastering-compressor

Vinyl Mastering

Mastering for vinyl is something different than mastering for CD or for file distribution. Because of the underlying technology, oftentimes simply using the CD-premaster (or the files) 1:1 for vinyl is not suitable and prone to severe degradation of the sound playing back from the grooves.

Since the encoding and decoding of the sound to and from the pits of the analogue disc follows physical rules (and some standards like RIAA equalization as well), there are some important things to keep in mind, in order to get the maximum sound experience from the black gold.

This includes for example some rules regarding the phase of the signal, as well as some contraints in the level of high and low frequencies, that can be transmitted, as both the cutter (recording) and the stylus (playback) are limited in acceleration and not all record players are calibrated exactly, let alone cheap ones that sometimes even lack changing the basic settings.

We can help you getting an ideal sound onto the vinyl record with our specialized vinyl mastering.

Moreover we also offer a mixdown, that is already optimized for the grooves. Why do you think, the old classics sound so good, even though they have been cut to a bandwidth-limited and noise-laden medium like the vinyl record? The answer is easy: the whole production was targeted to bringing the music to vinyl, aka as “making a record”. The goal was not to be the loudest on earth, like it is many a time today (Loudness War). Even if vinyl also fell victim to a modest loudness race over the years, the engineer was and still is forced to observe the physical limits that cannot be left aside to simply get a playable record, unlike when mastering for CD where there is only one technical limit: 0 dBFS as the highest absolute level. Maybe these limits are what is known nowadays as “the” sound of vinyl. So releasing music in an optimized way on vinyl kind of even helps resolving the problem of being forced to be part of that loudness war – since most of the vinyl enthusiasts do not want the loudest recording, but a good sounding one. Why disappoint these connaisseurs?

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