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Fixing Small Record Holes
Sometimes brand new vinyl records have a minor, but annoying problem: the hole in the center is too small. When you put your brand new record on your turntable, sometimes the record doesn’t just plop down on the platter. You have to force the record down because the hole in the record is just a bit snug.
Of course, that’s all well and good, but what about when you want to lift the record off the turntable? Lifting the record causes it to bend, which over time could affect the sound quality and possibly damage the record.
So, what to do?
I got an email from a reader who was having this problem, and at first, he was considering using a drill to make the hole larger. I told him that it may work, but you should be careful when you’re doing it. If the hole ends up being off-center, or too big, the record may not play back perfectly. I don’t know exactly what could happen, but you may get some weird distortion, or one channel louder than the other, or even skipping. You could damage your stylus or record over time too. Of course, there are all worst-case scenarios. If you were careful, you could probably fix the problem with a drill. Ultimately, my advice was to force the record over the spindle, and in time it will enlarge to the right size.
Of course, the reader didn’t like the idea because he was worried about the record bending, which may damage the record over time. He ultimately found a solution, and emailed it back to me: Use a pair of scissors. First, push the blade of the scissors into the hole (gently) until it won’t go any farther, but don’t force it. Next, rotate the scissor blade to remove a thin sliver of vinyl. One rotation should be fine. Finally, plop the record back on the turntable and see how it fits.
My reader assured me that this works well (although I have not tried it before, so be careful, and don’t blame me if it messes up your record), so the next time you get a record with a small hole, try the scissor technique!
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Topics: Vinyl Info | 7 Comments »
Secret Stash Records
I recently was in touch with the fine folks over at Secret Stash Records. They are a small, independent label that specializes in releasing little-known gems, and upon visiting their site, I was immediately interested in what they had to offer.
Imagine: Porno music from the 70’s, funk from a failed 70’s blaxploitation movie, and a Reggae interpretation of Miles Davis’ masterpiece, Kind of Blue.
I expressed my interest in their offerings, and they arranged to send me some copies of those three records. Before I received the LPs, I sent a quick interview off to their VP of sales to get a better idea of what Secret Stash is all about. Here is what I found out:
Secret Stash Interview:
Q: How did the idea for Secret Stash records come about?
I spent the last five years selling CDs to accounts like Best Buy and Wal Mart as a sales and marketing consultant for various labels. All of my clients were affiliated with large distributors of some sort, so just about everything we did was funneled through a third party. I became fed up with the negativity that seems to drive that world. Everyone from the accounts themselves to the distributors and even my clients were always very negative. I must say, it’s hard to blame them for it though. Each year they watch their business deteriorate at a shockingly fast rate. Because the retail environment is so bad for compact discs, it would be really hard to have any level of success with obscure or extremely niche releases. But, as a vinyl junkie, I began to notice that people shop for vinyl in an entirely different way than people buying CDs. I realized that weird and rare releases could actually thrive in the vinyl world. So far, it seems to be working, too!
Q: What sort of music does Secret Stash market?
Funk, soul, jazz, and world
Q: How did you find the music that you ultimately released under your label?I have some friends in Nashville that are a great resource for this stuff…. But a magician never gives away his secrets. Actually though, our upcoming release, Soviet Funk, Vol 1 just fell right into our laps. The guy who owns the content saw what we’d been able to do with previously unreleased material and contacted us.
Q: Anything new coming out soon?
2/2/10 Soviet Funk, Vol 1 will be out. We are very excited, not only because this is the coolest thing we’ve worked on yet, but also because this will be our first title to include a free downloadable version. Check it out here: www.youtube.com/secretstashrecords
Q: What sort of music would you like to see on your label in the future?
We are having so much working with this soviet catalog. It’d be really fun to find more rare gems from around the globe. I’ve been in negotiations on some amazing black gospel music from the 60s as well. Keep your fingers crossed on that one!
Q: Why are you so committed to the vinyl format?Well, there are all the answers you’d expect… It sounds better, it’s more collectable, we love the full package experience, etc. All of those are true by the way. However, it really was the best business model for us. There is so much stuff out there yet to be reissued on vinyl that we figured it was the best way to get our hands on some great content. Also, it goes back to your first question. It has a lot t do with the shape of compact disc business. It’s not good and it’s only going to get worse. We aren’t opposed to other formats, this is just what works for us. Again, we are very excited to start offering download cards with our titles so that non-vinyl consumers can still enjoy our records.
Q: How did you first become interested in vinyl?One of my fondest memories of childhood is my parents blasting Michael Jackson’s Off The Wall, obviously on vinyl. It seemed like the whole house would shake from this amazing stereo they had. My Mom would dance up a storm. After I graduated college I picked up a turntable so I could spin a few records that had somehow found their way into my closet. Then, one day my Mom gave me that copy of Off The Wall. I had a CD reissue of it, but listening to it on vinyl again just set something off inside me. An interesting side note: the day Michael Jackson passed away I took that LP and the copy of Thriller she had given me, framed them, and brought them over to her. The same two records she gave away years ago because they’d been replaced by her CDs are now two of her most prized possessions.
Q: Anything else you’d like to share with us? (Shameless promotion = OK!)
I already slipped in the shameless plugs for our upcoming release, Soviet Funk, Volume 1. See, it’s actually shameless because I already mentioned Soviet Funk, Volume 1 before you told me it was okay to shamelessly promote something. Once you tell me it’s okay to talk about Soviet Funk, Volume 1 and the promo video for it (www.youtube.com/secretstashrecords) then it’s really not that shameless. But me sir, I truly am shameless. Seriously, be sure to check out Soviet Funk, Volume 1.
As I was saying earlier, I had a chance to review most of the Secret Stash catalogue (Minus the Soviet Funk album), and after giving the following three albums a good listen, I have determined that Secret Stash is on to something good. Check it out…
Reggae Interpretation of Kind of Blue:
Here’s the story: In the early 1980’s a group of reggae musicians gathered in a New York City studio, and under the direction of NYU music professor Jeremy Taylor, re-imagined Miles Davis’ landmark Kind of Blue album. Unfortunately, just weeks after the recording session, Jeremy Taylor died, and the recording was never officially released. Fast forward to 2009, and the album is finally released on Secret Stash records.
It’s pressed on blue vinyl (nice), which definitely feels heavier than a typical pressing. They don’t market it as a heavy vinyl pressing, but it’s nice to see that they spent some $$ to press this album right. The cover art is reminiscent of the original Kind of Blue cover, and symbolizes what you’ll hear on the album: It’s Kind of Blue for sure, but it’s different.
So, how is it? I loved this album! It’s faithful to the original, although some of the songs are shorter and less improvised. Of course, the style is more reggae, but still retains the jazzy mood of Kind of Blue. It’s more modern, and has a bit more of a tropical and festive feel, but it’s still very chill. This is a good one to throw on when you’re just chillin out. It’s also great for people who like to work with music on in the background.
I admit that I didn’t know what to expect before putting the album on, but I can say that this album will delight anybody who enjoys reggae, jazz, and the original Kind of Blue album. Enjoy!
Links:
Kind of Blue Reggae Interpretation at Secret Stash Records
Porno Groove: The Sound of 70’s Adult Films
The 1970’s are considered the “golden age” of adult entertainment because at that time, budgets for some porno movies were on par with what was being released in Hollywood. These big budgets allowed for excellent quality sets, cinematography, costumes, and most importantly (errr, sorta) music. The music on Porno Groove is exactly that: music from 1970’s porn; more specifically, adult movies released by Fantasy Productions. The story goes that Fantasy Productions had produced a massive catalog of content, some never before seen. When the founder and CEO of Fantasy Productions died in 1985, much of the intellectual property was tied up in various legal battles. Eventually, the son of the founder regained control of the entire Fantasy Productions catalog, and discovered a massive amount of unreleased music.
Enter Secret Stash Records, and the Porno Groove album is released. Similar to the Reggae Interpretation of Kind of Blue, it is pressed on heavier than average vinyl, this time on hot pink vinyl. The cover features artwork from some of the Fantasy Productions movies, which of course features attractive 1970’s-era ladies.
So, how is it? Another excellent score for Secret Stash! This album is pure funk, with a little rock and jazz mixed in. It is definitely the stereotypical 70’s porno music (although I did not hear much of the typical wah-wah sound that is synonymous with 70’s porno music), but if you didn’t know much better, you’d think this was a straight funk/rock album. I must admit, I really like this album. I feel a bit strange saying that since the music was originally intended for porn, but what the hell? Good music is good music! One thing is for sure, this music will take you back.
So, what’s the final verdict? If you’re feeling nostalgic for a 1970’s vibe, give this record a spin. If you like funk, you’d probably enjoy it too. Of course, if you like old school 70’s porn, now is your chance to get the music part…in hi-fi!
Links:
Porno Groove: The Sound of 70’s Adult Films at Secret Stash Records
Mad Dog’s Hustle Original Motion Picture Soundtrack:
Mad Dog’s Hustle is a failed 1970’s blaxploitation movie that was produced by the people behind Fantasy Productions (see above). The story of this album goes that Fantasy Productions was looking to produce a more mainstream movie (and earn a mainstream audience), and Mad Dog’s Hustle is what came from those efforts. Unfortunately, the movie had many financial problems during production, and was never released to a wide enough audience (6 theaters for 3 weeks in 1974) to achieve the notoriety that was hoped for. Fortunately, the Fantasy Productions people had a great ear for music, and Secret Stash was able to release the soundtrack. It’s pressed on heavy white vinyl, and the cover art is pure blaxploitation: A sexy lady in a halter top with an afro, and a bad looking bald dude with a big gun. Nice.
So, how is it? Well, if you love that gritty 70’s era blaxploitation funk (think SuperFly), you’ll love this album. It has a very hard-edged urban, yet soulful sound. The music helps visualize the social problems that ran rampant in the inner-cities, especially New York, during the 1970’s. This album is a funky, yet emotional ride through the world of a man living on the rough edges of a society that doesn’t respect or support him. Of course, it wouldn’t be blaxploitation without such a premise. Despite the film’s failure, the themes are very well represented in the music. This album is a bit more heavy, more emotional than the other Secret Stash albums, but I think has a bit more of a message. Overall, this album makes you think, much like the classic soundtrack for SuperFly, and is worth listening to.
In conclusion, I’d recommend this album. It may not be as light and fun as the other two Secret Stash albums, but the quality of the music is excellent. It’s funky, soulful, and visualizes the hard life of living in poverty in the inner-city. If this kind of music interests you, you gotta check it out!
Links:
Mad Dog’s Hustle Original Motion Picture Soundtrack at Secret Stash Records
In conclusion, the fine folks over at Secret Stash Records are doing something really cool, and if you’re in to funk, soul or jazz, you should head over there now and check out what they have to offer. You may have never heard of what they release, but I am sure that you’ll like what you find.
Enjoy the music!
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Topics: Interviews | No Comments »
Chillin with Brazilian: Bossa Nova
Lately, I have been captivated by a music with lush textures, relaxed melodies, and a fantastic sense of place. This music comes from a very unique part of the world with a vibrant musical history and amazing natural beauty. The Place is Brazil, and the music is Bossa Nova.
The name “Bossa Nova” roughly means “New Trend” in Portuguese. It came about in the later 1950’s in Rio de Janeiro, Brazil among the vibrant intellectual and artistic communities there during that time. Bossa Nova is influenced by both Samba music and Cool Jazz, and uses several instruments such as classical guitar, piano, and strings to create lush musical textures. The guitar is often used for rhythm, and the string arrangements have a very distinctive sound to them.
One important similarity between Bossa Nova and American Jazz is that both genres are based on the musical traditions of African people. While both genres developed their own styles, in their own part of the world, with their own people, it is fascinating to listen to American Jazz and Bossa Nova, and experience some of the similarities. Naturally, when Jazz musicians like Stan Getz traveled to Brazil and experienced this music, they wanted to work with some of these Brazilian musicians (Joao Gilberto, Antonio Carlos Jobim) and make new music together. The result of these musical partnerships are famously recorded on such albums as Getz/Gilberto and Jazz Samba.
Bossa Nova History and Key players
Jobim
The two people most famous for the development of the Bossa Nova style in Brazil are Joao Gilberto and Antonio Carlos Jobim. Joao Gilberto is a guitarist, singer and songwriter, and much of his music uses this very stripped-down sound consisting of only guitars and vocals. Antonio Carlos Jobim is a pianist and composer, and has written some of the most famous Bossa Nova songs in history. While both Gilberto and Jobim were very active in creating the Bossa Nova style, they reached international fame when Stan Getz collaborated with them both to create the Getz/Gilberto albums. Featuring the famous “The Girl From Ipanema”, these albums created a worldwide sensation, and immediately put Bossa Nova on the map.
Joao Gilberto
While Joao Gilberto, Antonio Carlos Jobim and Stan Getz are the three most well-known musicians that were part of the Bossa Nova scene, there were many other musicians who helped shape what Bossa Nova is and what it became.
Vinicius de Moraes
Vinicius de Moraes was also an important figure in the development of Bossa Nova, as he worked with Jobim on the production of a play; Moraes wrote the words, Jobim wrote the music. Soon after, Elizete Cardoso was asked to sing on the album Canção do Amor Demais by Jobim and Moraes, which was one of the first Bossa Nova albums. This album also featured Joao Gilberto.
Astrud Gilberto
Another important figure in Bossa Nova was Joao Gilberto’s wife of the time, Astrud Gilberto whose vocals became famous on the Getz/Gilberto album song The Girl From Ipanema.
Charlie Byrd
American Charlie Byrd collaborated with Stan Getz on the classic record Jazz Samba. This album was the beginning of the Bossa Nova craze in North America.
Stan Getz
Lots of other musicians have been important to the Bossa Nova scene, both Brazilian and American. Even American legends like Frank Sinatra and Ella Fitzgerald got in to the Bossa Nova scene.
Elizete Cardoso
The Bossa Nova Sound
Bossa Nova has a very distinctive sound, and uses instruments in a very distinctive way. It is very jazzy (for lack of a better term), but is also very distinct from jazz.
The main instruments are the classical guitar, piano, strings, and many times various winds and brass. Percussion is not always present, but it is common enough. The guitar tends to be played in a rhythmic style, while the piano tends to be more melodic. Strings provide a sort of a very nice ambience to the sound. You do tend to hear flutes and saxophones too. The most stripped-down Bossa Nova tends to be just a single guitar and vocals.
The Bossa Nova Vibe
All of the instruments are combined in such a way that is very ambient. This kind of music also seems to conjure up beautiful and glamorous images in my mind when I listen to it. It’s also pretty relaxing, but definitely not boring or elevator music-y, like some people think.
When you hear it for the first time, it sounds somewhat familiar…like you you’ve seen it in movies from the 70’s. There will always be a party scene, and the music will be Bossa Nova.
The music also gives you a very visual sense. When I listen to the music, I feel like I can almost visualize Brazil, and understand the people and vibe of the place. I’ve never been there, nor do I speak a word of Portuguese, but now I really want to go there!
Overall, this music has been very exciting to explore. If you like jazz, and want some nice mellow music, Bossa Nova is pretty awesome stuff. Even if you don’t really listen to that kind of music, you should at least give it a try.
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Topics: Latin Music | 4 Comments »
Coming Soon: Reviews!
Hi everybody, I just wanted to post very quickly that I will be adding a review function to Vinyl Revinyl very soon! This will allow you to chime in about some of the albums for sale here, and help people explore new albums that they’ll probably like. Stay tuned!
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How I Got Interested in Vinyl
OK, for those of you who are new here, and don’t know much about me, I am not from the era of vinyl records. I was born in 1980, and sure, at that time, vinyl was the preferred playback medium, but I never really had much interest in listening to music until I was about 7 or 8. Of course, due to the fragility and temperamental nature of vinyl, my parents bought cassette players for me. On top of that, while my parents did have a turntable and plenty of records, they never really encouraged me to use it. So, I started with cassettes, then moved to CDs. Of course, once MP3s started showing up, I got interested in those as well.
Anyway, somewhere in the late 1990’s, my mom decided that she wanted to be able to listen to some of the music she had on records in her car. She tasked me with ripping her LPs into digital, then burning them on CDs. So, I unhooked her turntable from the stereo, brought it into my room, and hooked it up to my computer. I did some research on the internets, and found out what I had to do to get a good, clean sound from the turntable, and record it at the highest quality possible. So, after all of this was done, I grabbed a record, plopped it down on the turntable, and started it up.
This is the moment that I got interested in vinyl.
Up to this point, I had read all sorts of stuff that said CDs were the best sounding medium available. However, I had also read stuff that said vinyl has a richer, warmer tone than CDs. I had spent a lot of time upgrading my computer sound system, plus my car stereo system, and I had spent hundreds of hours listening to both, so I think I had a good idea of what digital music sounds like. I also figured that with my gear, I would be able to pick up on some of the subtle differences. I didn’t really know what to expect when the needle came down upon the record, but I did know that the sound would be different.
And hey! What a surprise, the vinyl did sound different, although I admit I didn’t have a CD version of the record to truly compare it. I knew it immediately when I heard it, this music sounded more live, and less harsh. After that, I was completely convinced that vinyl does sound better than anything digital. Of course, times have changed, and there are better digital formats, but there still has yet to be a better digital format that is as accessible and ubiquitous as CDs.
Anyway, fast forward a few years, and I finally got my first turntable. Some dude I used to work with gave me his old turntable. My first mission was to go out any buy some records, so I headed over to San Jose/Santa Cruz area record shop Streetlight Records. I picked up some Miles Davis, and Creedence. At this point, I don’t think I had heard any vinyl since the LP ripping experience before. Once I put the records on, immediately I recognized that sweet, lush sound all over again. Too bad I messed up the stylus on that turntable, then noticed that it made loud thumping noises, and I had to get rid of it.
Fortunately, things picked up for me a bit financially, so I bought my first turntable. I haven’t looked back, and I have enthusiastically built my vinyl collection–even buying records that I have on CD or have purchased through iTunes. Of course, this enthusiasm for the format also led to the creation of this website.
So, there you have it. How I got interested in vinyl. How did your love for vinyl come about?
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Topics: Sound Quality, Vinyl Info, Vinyl Praise | 4 Comments »
Interview With Vinyl Manufacturer Furnace MFG
Hi everyone, I recently interviewed a representative from Furnace MFG, a company that manufactures vinyl records (among other things)…We talk a bit about the market for vinyl, the manufacturing process, vinyl technologies, and the future of vinyl records. Enjoy!
Many of the vinyl enthusiasts of the world have speculated, and have been reading in the media that vinyl seems to be coming back. Is this true in your case?
We are absolutely seeing this trend. As a manufacturer of vinyl records, we often times are made aware of projects many months before they hit the retail stores. Through the course of 2009, we’ve seen increasing orders from clients. In the past, clients might order vinyl runs of 2,000 or 3,000 pieces and we’re now seeing that most of our orders for major titles are averaging 5,000-10,000 pieces. Smaller labels and bands continue to press between 1,000 and 3,000 records per order but we’re seeing more and more of those types of clients as well.
How much growth have you seen in the vinyl industry over the past year? Past two years?
Furnace’s volume has doubled in 2009 over 2008 and we have no doubt, looking at release schedules by our most loyal customers, that this volume will remain on an upward trend.
Looking forward, we’re forecasting a minimum 50% growth rate for 2010 as the sales of vinyl records continue to double year over year (like they are expected to do this year compared to last year).
Of all the vinyl you press, what seems to be the most popular? What seems to be the least popular?
Our most popular record that we press is a 180 gram audiophile quality record pressed through our partner, the Pallas Group out of Germany. The Pallas Group is known as one of the best vinyl pressing facilities in the world and Furnace MFG has an exclusive distribution and manufacturing relationship with them for North America.
Although we have the ability to do colored vinyl, picture discs 7”s and 10”s these are generally only for small or special projects and not the bulk of our business.
What percentage of new vinyl pressings feature new music as opposed to reissues of music released in the past?
Because of our market leadership in audiophile quality vinyl, much of what we have been doing in the past has focused on re-issues (or older titles that were never released on vinyl initially). However, we’ve been seeing an expansion of our clients requests to include new releases as well. Frontline titles typically tend to be pressed on lower weights (120 or 140g) and the bands and labels place less of a premium on the audiophile quality and more of a premium on lowest cost. We’re able to offer both.
Is it just the major record companies that are pressing more vinyl, or are you seeing increased demand from smaller labels and independent artists as well?
The last six months has seen an increase in the number of independent artists who are releasing their albums on vinyl. With margins disappearing on CDs and downloads, artists are doing a lot more touring to make a living. Vinyl is a perfect merch item for them because most of their fans do not have access to physical product anymore with stores closing or narrowing focus. Vinyl sales at live shows have been exploding because of that reason. Also, vinyl is not easily replaced with a download or streaming radio. The collectible aspect of vinyl is attractive to labels that have seen their physical product diminished to the used racks and eBay like channels.
As the convenience of digital audio formats (MP3, iTunes) continues to attract new listeners, what is the biggest challenge for retailers to convince consumers to buy vinyl?
The biggest question that consumers have is whether vinyl records will continue to be a supported format by music labels. They are quite right to worry that they will invest money to buy a nice record player, the fad will end, and music labels will stop issuing records like they did in the early 80s. While this is a valid fear, we believe that record labels are just starting to realize the potential for vinyl records. With the rapid deterioration in CD sales, and the large increase in digital downloads, the main revenue sources for record labels is under great threat. Vinyl records will never sell at volumes that CDs sell at. However, since the per piece profit is so much higher, labels are finally starting to realize that vinyl records represent a revenue growth opportunity in a declining market. Artists have always been fans of vinyl records for the purity of their sound and the ability to connect with their fans. Many of today’s record buyers are not reliving their past – they are young, influential music lovers that are discovering the joy of vinyl records for the first time. As more and more music labels realize the untapped profit potential in vinyl records, the trend will only grow.
The other big question that consumers have about vinyl records is whether the quality has improved at all from what they remember 20 years ago. In the past, records were made of cheap recycled PVC and were pressed on thin vinyl. Today’s records are made of a much higher quality PVC and rarely is a record pressed at less than 120g. The heavier weights provide more durability and longevity to records and today’s mastering and cutting equipment, coupled with our outstanding galvanic process, makes a record sound better than it ever has been able to in the past. This is one area where record labels need to make sure they put out a good quality product. Nothing will kill the growth in vinyl quicker than record labels cutting corners and selecting plants based solely on price. If a new consumer of vinyl records gets a terrible sounding record in their first exposure, it’s going to be impossible to convince them to continue to invest in vinyl records. Our approach here has been, and will continue to be, to put the best sounding records possible. That’s why all our records are pressed in Europe by craftsman who’ve been working in this business for 30+ years. Record pressing is an art that takes a lifetime to master.
As far as retailers go, stores who have been selling vinyl are in it for life and they are the best salespersons for the format. The real question is whether online stores and big box stores will adapt to allow themselves to be successful. Insound, Mofi and other vinyl specialty online shops do a great job because they know how to properly handle, pick, pack and ship a vinyl record. But when you receive a vinyl record from Amazon and it’s laying flat on the bottom of a big box with no cardboard protecting it, its no wonder why they may get out of the vinyl game because their damage rate must be sky high. I was in a Best Buy recently checking out their vinyl selection (they are now carrying up to 200 titles in each of their stores) and because the employees don’t know how to display or care for the format, all of the jackets are destroyed and looks like garbage. These two scenarios can be avoided and both types of supply chains can be successful but it’s going to take someone that knows what they are doing to correct the obvious roadblocks in their way to long term success selling vinyl.
Do vinyl records really sound better than CDs? Is there any kind of scientific proof?
To this question, we would say that much like beauty is in the eye of the beholder, sound is in the ear of the listener. There is no debate that converting music to digital format results in some compression loss. Whether that degradation is noticeable or not is where the subjectivity comes into play. Many people would agree that vinyl records sound “richer” than CDs due to the fact that no compression is necessary for an analog format – and we would agree too with that.
There is no doubt that digital music provides advantages that vinyl records do not – namely storage and portability. But there will always be room for both formats depending on need and desire. It’s common for all new vinyl records to include a copy of the CD for this very reason.
Personally, I know there is a difference in quality when proper steps are taken. Being a musician that has released both CDs and Vinyl, the vinyl has always sounded better. Part of it is that we recorded in analog and kept the entire process analog to the cut. In those cases, you will never get better mass reproduction than vinyl playback. But if the recording is digital and already compressed, vinyl is just another format. Vinylphiles will say even a digital recording still sounds better on vinyl. I would agree with them on this point.
I have noticed that some full length albums are available in 45 RPM format. Do you think this trend will catch on, or will the 33 RPM format continue to be the norm?
That is a niche for high end music lovers. There is more room for the groove to breath when something is cut on 45 so the sound quality has the chance to be much better. I think there will always be a niche for this because there will always be 1000 people in the world that are going to want to listen to John Coltrane’s “Ballads” on the best vinyl format available. 2×12” 45 gives them the best opportunity assuming the mastering, cut and pressing is up to snuff.
Could you explain the process for manufacturing vinyl records?
Here’s a simplified step by step process:
-Cutting – the recording is transferred or cut to either a platter of lacquer or copper (the latter is called Direct Metal Mastering or DMM).
-If a lacquer is cut, it is metalized and a father plate is created. This is a negative)
-A reverse of the father is created called the mother. When cutting to copper (DMM), this is already a positive plate or Mother plate. Mother plates can played on special turntables and are what we listen to remove any ticks, pops or noise prior to making pressing plates
-Mother Plates are used to spawn pressing plates. The pressing plates are used on the presses and are what the vinyl is pressed between to create a record. Depending on the type of cut and the thickness of the pressing, we replace stampers every 500-1500 records to ensure the best possible quality of pressed record.
-Using the pressing plates, we set up a machine to press Test Pressings. This is normally a run of 5-25 records that we listen to for quality and then send to the client for their final approval.
-While the Test Pressing is out for approval, we will print and pre-bake the paper labels that appear on both sides of the record. Baking is required so the paper is cured before it goes on the press. If this process is not done correctly, labels will crack, bubble or blister due to heat and pressure from the pressing process.
-As soon as the Test Pressings are approved, we put the plates back on the press and start pressing records. PVC pellets are put into an extruder which creates a biscuit of hot PVC sandwiched by the a and b side labels. Two stampers (one for each side of the record) are placed onto a press and with tons of pressure at high temperature, the press closes on the biscuit and actually forms the records with the grooves. The records are then finished by trimming excess PVC and then put into the inner sleeve as it comes off the press. A heavy metal plate is put on top of every 4th or 5th record to ensure the stack is flat as it goes into the curing room where they will cool down for 48 hours prior to assembly.
What determines the quality of a pressing? How can a consumer know which vinyl is good quality, and which is poor quality?
It’s all about the sound quality. If you have two plants and give them lacquers cut from the finest cutting studio in the world and give them the finest PVC material in the world – you will often times get two completely different products. The galvanic process and the pressing formulas at our two facilities are the secret weapon to creating some of the best records in the world. If a plant does not put the care and expense into creating superior metal parts, you will hear it in the vinyl. If a plant treats each record the same and doesn’t factor in the cut and the other 9,000 things you need to consider when pressing vinyl records, you can have problems there as well. You also will get non-fill, poor tracking, etc when inexperienced people are running the equipment. Both of our plants have been around for decades and the experience on the floor is not something you can buy or learn overnight.
Most of the records that are marketed as Audiophile releases are pressed on heavyweight vinyl. 180g records, for example, are less prone to warp or dish. When pressed correctly, you will get a superior product from a heavyweight record.
Inevitably, better digital audio formats will come along that sound better than CDs, and possibly even DVD Audio or SACDs. Will vinyl records still be able to compete with these modern technologies?
Vinyl records will always have a core group of consumers that love them for the experience of listening to music that no other format can provide. Listening to a record takes a proactive set of actions and is often times the end goal. Listening to a CD or digital music can be more of an afterthought or a background activity to doing something else. The large format of vinyl jackets also provides artists a unique way to express themselves in addition to the music itself. For this reason, we believe that vinyl records will always be complementary to new technologies that might arise.
Tell us a little about what your company does.
Furnace MFG has been in business since 1996 and is a recognized leader in CD and DVD duplication, replication, and vinyl record manufacturing and packaging. Leveraging our two exclusive relationships in Europe, we are able to bring to the domestic market high quality vinyl records with world class assembly and finishing options. We have carved out a niche to work on complicated packaging and finishing for special projects and continue to increase our market share by providing a high quality product for a fair price.
Our CD/DVD/Flash Drive reproduction continues to grow with many major music, corporate, and educational clients. We can fulfill any customers order – whether they are looking for 10 or 10,000,000 copies made.
You can visit Furnace MFG’s website at: http://www.furnacecd.com/
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