AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Week 8 - Mastering |
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The mastering studio, the mastering process, mastering for: CD, vinyl, cassette, multimedia, other formats and applications.
HI all.
So here we are, arrived at one of my favourite audio subjects. mastering. I'm really looking forward to how you all respond and get involved with this one.
The Live Workshop this week was humorous and "good fun" and we bantered around some jokes. However, this mastering angle is one of the most controversial in circles. It ranges from beng "the" most important topic to "the" most non-relevant of all time. Let's see what stance you take this week with these questions and the practical which has been posted as week8.zip.
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Practical
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You are to download the week8.zip and digitally re-master the Fleetwood mac track.
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Target Audience: Stereo internet radio
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File type: mp3
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Bandwidth:128 stereo, 64 mono
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Uploaded ready for next Live Workshop.
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Resources:
http://www.digido.com/index/pmodule_id=11/pmdmode=fullscreen/pageadder_page_id=93/
http://webbd.nls.net:8080/~mastering/guests
http://www.soundrecordingtechnology.co.uk/Services/Mastering/mastering.htm
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Questions:
http://www.digido.com/index/pmodule_id=11/pmdmode=fullscreen/pageadder_page_id=93/
http://webbd.nls.net:8080/~mastering/guests
http://www.soundrecordingtechnology.co.uk/Services/Mastering/mastering.htm
1. What is Mastering?
2. Why is mastering necessary?
3. What is Post Production?
4. Comment on “preparing your tapes”.
5. Comment on “stereo bass”.
6. Why is mono compatibility such an issue?
7. What is meant by the term “start ID”?
8. What are the three types of Disc Cutting?
9. What information should be written on your master tapes?
10. What is meant by multi-band compression?
11. Explain the term dynamic range.
12. What is the formula for dynamic range?
13. What is meant by SNR?
14. Describe gain riding.
15. Comment on this article:
http://www.digido.com/index/pmodule_id=11/pmdmode=fullscreen/pageadder_page_id=93/
Pay particular attention to what you feel about the subject. Essentially it is about where YOU stand on the subject within the big picture. For example are you joining the race or are you sitting on the fence? What would you do given the reins to a potential top ten album?
16. What is meant by normalling?
17. Explain DC offset
18. How can the target audience affect mastering decisions?
19. What happens to the audio signal when a aural enhancer is applied?
20. What does relative loudness mean?
21. What does r.m.s. mean?
22. What is meant by 'entertainment quality'?
23. What happens if you leave excessive, short transients in the music?
24. What is The K-System?
25. What are The Equal Loudness Contours?
26. What is MetaData?
27. Explain the term Headroom.
28. Explain the term Crest factor.
29. What skills and abilities must a Mastering Engineer possess?
30. What does the term “Masking” mean?
31. Explain the Hass Effect.
Last edited by AUdIoCoUrSeS on Thu Sep 18, 2003 2:01 pm; edited 1 time in total |
Sun Jan 12, 2003 9:38 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Nancy |
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More links:
http://www.record-producer.com/mastering/multi_band_compression.html
http://members.optushome.com.au/skinah/digthe.htm
http://www.prosound.com/mix_gloss1.htm
http://www.arsdivina.com/AudioRecording.html
http://www.rane.com/par-a.html
http://www.nthelp.com/mastering/faq.htm
http://www.sfu.ca/sca/Manuals/ZAAPf/e/equal_loud_cont.html
http://www.digido.com/index/pmodule_id=11/pmdmode=Fullscreen/pageadder_page_id=13/searchQuery=K-system
http://www.vinylrecorder.com/bass.html
1. What is Mastering?
Mastering is the creation of a high-spec production master , Every track is assessed on it's own merits and treated accordingly. Mastering is always recommended if your material comes from an older analogue or "vintage" source, and / or from a variety of sources, for example a "best-of" or compilation album.
2. Why is mastering necessary?
To make sure your recording is up the professional standards of other CDs found in the store. This includes making sure all the tracks play at the same level, putting the right gaps between the songs.
3. What is Post Production?
Another name for mastering.
4. Comment on “preparing your tapes”.
The preparation of your tapes is really what post production is about. Editing, copying and adding fades are just some of the things that can be done at this stage. These changes are made using a number of different devices. The most common are equalisers and compressor/limiters.
Equalisation (Eq) An equaliser, is like a sophisticated bass, mid, or treble controls. By using a number of these it is possible for the engineer to make delicate or, if required, dramatic changes to the sound of your song.
Compression and Limiting Although compressors and limiters work in different ways, these units are used to control the peaks of the music, in effect, squashing it. This makes the quite bits louder (compressor) and stops the loud bits from being too loud (Limiter)
5. Comment on “stereo bass.”
You have to be careful with stereo bass regarding vinyl recording. Basses have the largest amplitudes on disc. Therefore deep stereo bass is not possible at all. When mastering, the stylus could loose contact with the blank quickly, and the Groove would disappear. The more stereo effects get recorded, the deeper the groove has to be.
6. Why is mono compatibility such an issue?
Some radio stations broadcast in mono. A mix that sounds good in stereo may not sound good in Mono. You can have problems with phase cancellation also.
7. What is meant by the term “start ID”?
It’s a marker between tracks on a master tape. Each track has a start ID and an end ID. I think (?)
8. What are the three types of Disc Cutting?
Lacquer Master
this is an aluminium disc which has been given a laquer coating. The diameter of the Lacquer disc is always larger than the finished record. For example a 12" single or album would be on a 14" Lacquer, where as a 7" single would be cut on either a 14", 12" or 10" Lacquer. If you are making a picture or shaped disc, this must be on a 14" blank, with no test cuts. This is the master disc, it should not be played or touched. It is very fragile and the grooves can be easily damaged. The metalwork is made by a process called electroplating. Space is needed to clip on the electrode. If the master disc were the correct size, the clip would damage the grooves. Do not put cut laquers near a heat source, in a hot room, or where the sun shining through the window will heat them. If you need to store your Lacquers for a long time, keep them in the fridge. This should be no cooler than 5 degrees Centigrade. The idea is to chill, not freeze. Also make sure the box is sealed to keep out moisture and prevent condensation.
An Acetate
An Acetate is basically the same as a Lacquer, but it is the correct size. This is particularly important for 12" records, as few record players can have a 14" disc fitted on them. The main purpose of an acetate is for you to play it at home to make sure you are really happy with the cut, before you pay for the metalwork to be made. The record factory will send you one or two test pressings (TP's or white labels) before they press the rest of your records. Use the Acetate and the test pressing to compare the quality of the finished project. If they do not sound pretty much the same then there may be a problem. One word of warning, every time you play an Acetate you damage it. In the same way that you would damage a Lacquer. Try to resist playing it to your friends or in a club until you have given the test pressings the OK. (heavy stylus weights, back cueing and scratching will all ruin the Acetate very quickly). Once you have OK'd the test pressing (TP) do not play it, or the acetate, any more just in case the production run is faulty. You can use them to prove that the main run is not as good as the TP which you approved. Acetates, were also used by record companies as promotional devices for radio. They could rush an acetate over to a radio station to get air play, while the proper records were being manufactured. Recordable CD's (CDR) are almost exclusively used for this job now.
Direct To Metal
For a Direct to Metal Master a copper blank is used instead of Lacquer, the disc comes in one 14" size. DMM has several advantages. A DMM cut means you can bypass some of the stages of the metal work process. This results in the noise of the record (without music) being less; each stage of metalwork adds a little more noise The advantages of cutting DMM are, that it will handle the top end better (treble) and is more forgiving with sibilance. Also, because of the way the system works, should you need to cut long sides, a higher level can be achieved The disadvantage is, that because a DMM cut gets noisier the deeper the stylus digs into the copper, the depth of the groove is kept to a minimum. This means if you are cutting say dance music, with a lot of low bass, it is possible, on rare occasions to encounter a problem where a small percentage of finished records jump. It is not possible to get a DMM version of an acetate,
9. What information should be written on your master tapes?
CD Title
Label
Song titles
Sound Quality
Disc Times
BPS
10. What is meant by multi-band compression?
The multi-band compressor takes the signal and splits it up into as many as five separate bands of frequencies. Each band is then compressed separately. Sometimes the bands are compressed and then limited. This maximizes the level separately in each band, so that when the signals are mixed back together again the result is a signal which is as high as it practically can be in every band of frequencies. This does tend to change the balance of EQ of the signal, but it is a necessary price to be paid if ultimate loudness is desired.
11. Explain the term dynamic range.
Dynamic range represents the difference between the maximum signal that can be recorded (0dB / DFS) and the noise floor of your system. The noise floor is the noise present in your system without any signal present. A system with a high dynamic range will be quieter than one with a lower dynamic range. Dynamic range is measured with the decibel (dB).
The reality is that digital has NO HEADROOM, because there is no margin for overshoot. You simply must make sure that the entire dynamic range of the signal fits within the limits of the dynamic range of your recorder, without exception. The only meaningful absolute on a digital recorder, therefore, is the point at which you will go into overload. The result is the metering system we now have. 0 dB represents digital ceiling, or full-scale. The negative numbers on the scale represents your current level relative to the ceiling.
12. What is the formula for dynamic range?
Range in decibels = Bits x 6.11
13. What is meant by SNR?
(signal-to-noise ratio) An audio measurement of the residual noise of a unit, stated as the ratio of signal level (or power) to noise level (or power), normally expressed in decibels. The "signal" reference level must be stated. Typically this is either the expected nominal operating level, say, +4 dBu for professional audio, or the maximum output level, usually around +20 dBu
14. Describe gain riding.
Constantly monitoring and adjusting as necessary the gain of a recording process to prevent overloading the tape or hard disk.
15. Comment on this article:
http://www.digido.com/index/pmodule_id=11/pmdmode=fullscreen/pageadder_page_id=93/
Pay particular attention to what you feel about the subject. Essentially it is about where YOU stand on the subject within the big picture. For example are you joining the race or are you sitting on the fence? What would you do given the reins to a potential top ten album?
I have to agree with the author. Louder isn’t always better. In the studio, I am always turning the volume down compared to other folks in the studio. I like to hear the music, not be attacked by it. This comes in handy during my weekly coffeehouse gig that is broadcast over the Interent. We have to keep it at 90dB or less. I don’t have a problem with this, as some of the other engineers to.
What would I do if I were working on a potential top ten album? Hmmm. Here’s where the marketing side of me comes in to play. I’d certainly want to keep as much dynamic range as possible, but I would want the darn thing to SELL. If loud sells, I would have to compromise and make it louder, especially if it was a pop CD. Gotta keep those teenagers happy, even though they will ruin their hearing! Yes, I’m sorry, I would give in to the loudness! 
16. What is meant by normalling?
Normalling creates a default circuit through the patch panel to connect equipment together in the arrangement you normally or most frequently use. When you plug in a patch cord, you break this "normal" circuit and create a temporary new circuit.
For example, if you have a favorite compressor that you always use for mastering, you would create a normal so it's ready to use without hooking it up in the patch bay.
17. Explain DC offset .
In a studio or mastering environment, nothing is more important than maintaining the utmost audio quality throughout the mix. One of the common problems that is encountered, that effects this is referred to as 'DC Offset', and simply means that a given audio source does not have the correct 0-crossing, and is shifted either up or down from there. There software that can detect and correct DC offset. Some are stand-along programs that will scan the whole file, others are plug ins that can do the correction in real time.
18. How can the target audience affect mastering decisions?
If the CD is for a pop/teenager audience you may want to sacrifice some dynamic range for more loudness. If it’s a classical song ( with a lot of instruments), I’d want to keep as much dynamic range as possible.You have to think of what the target audience would like to hear as opposed to what you would like to hear. Also, the medium the target audience will use can affect mastering. Songs will be mastered differently for a CD than they would be for an mp3 file.
19. What happens to the audio signal when a aural enhancer is applied?
Enhancers or exciters work by adding harmonic distortion of some sort - but harmonic distortion found pleasing by most listeners. Various means of generating and summing frequency-dependent and amplitude-dependent harmonics exist. Both even- and odd-ordered harmonics find favorite applications. Psychoacoustics teaches that even-harmonics tend to make sounds soft, warm and full, while odd-harmonics tend to make things metallic, hollow and bright. Lower-order harmonics control basic timbre, while higher-order harmonics control the "edge" or "bite" of the sound. Used with discrimination, harmonic distortion changes the original sound dramatically, more so than measured performance might predict.
20. What does relative loudness mean?
Since the loudness of a sound is subjective from person to person (what’s loud to me may not be so loud to you), we needed system to measure relative loudness. We use decibels to measure the relative loudness of sound. 10dBs may be loud to me and not so loud to you, but we both know it’s 10dBs.
Relative loudness adjustments are a mastering technique that’s necessary in order to produce a truly professional CD. If relative loudness adjustments aren't made, it's a tip off that the CD is an amateur production. In mastering, the average and peak levels are optimized. (proper relative loudness)
21. What does r.m.s. mean?
An acronym for Root Mean Square, a conventional way to measure AC voltage and audio signal voltage. Most AC voltmeters are calibrated to read RMS volts. Other conventions include average volts, peak volts and peak-to-peak volts.
22. What is meant by 'entertainment quality'?
I didn’t find this term anywhere, but here’s what I came up with:
To me this means that a song may or may not be a musical masterpiece, but people really like it, so it has entertainment quality. Songs with a lot of entertainment quality make a boatload of money. Hence Britney Spears’ fortune.
23. What happens if you leave excessive, short transients in the music?
You could get a pre-echo effect when mastering. Think of a lacquer as a plastic substance just barely removed from a liquid—it tends to flow a bit. When the grooves are tightly spaced, the more dynamic side of a single groove can dominate the opposite side—the lacquer will try to achieve an equilibrium, resulting in the ghostly intimation of the music yet to come, or that just passed.
24. What is The K-System?
The K-system is is an integrated system tied to monitoring gain to measure relative loudness.
Several accepted methods of measuring loudness exist, of varying accuracy (e.g., ISO 532, LEQ, Fletcher-Harvey-Munson, Zwicker and others,). The extendable K-system accepts all these and future methods, plus providing a "flat" version with RMS characteristic. Users can calibrate their system's electrical levels with pink noise, without requiring an external meter. RMS also makes a reasonably-effective program meter that many users will prefer to a VU meter. The three K-System meter scales are named K-20, K-14, and K-12.
The K-20 meter is intended for wide dynamic range material, e.g., large theatre mixes, "daring home theatre" mixes, audiophile music, classical (symphonic) music, "audiophile" pop music mixed in 5.1 surround, and so on. The K-14 meter is for the vast majority of moderately-compressed high-fidelity productions intended for home listening (e.g. some home theatre, pop, folk, and rock music). And the K-12 meter is for productions to be dedicated for broadcast.
If console and workstation designers standardize on the K-System it will make it easier for engineers to move programs from studio to studio. Sound quality will improve by uniting the steps of pre-production (recording and mixing), post-production (mastering) and metadata (authoring) with a common "level" language. By anchoring operations to a consistent monitor reference, operators will produce more consistent output, and everyone will recognize what the meter means.
25. What are The Equal Loudness Contours?
They are These are graphical representations of the sensitivity of the ear to frequencies over the human range of hearing at various loudness levels. Known as the Fletcher and Munson Curves, which demonstrate that the ear does not hear all frequencies with equal sensitivity. we are most sensitive to frequencies around 2000 Hertz and less sensitive to frequencies which are higher or lower. This phenomena has significance for determining optimum levels for monitoring music in studio environments. If the playback level is too high or too low an unbalanced frequency image is likely to occur particularly in the low frequency range where our perception of loudness changes significantly at various loudness levels. A suggested optimum monitoring level is 85 db.
26. What is MetaData?
Metadata can be defined literally as "data about data," but the term is normally understood to mean structured data about digital (and non-digital) resources that can be used to help support a wide range of operations.
Metadata is used to create “standards” for data formats including the MPEG-7 Multimedia Content Description Interface standard for audio-visual resources and the NISO draft definition of technical metadata for digital still images. “The Dublin Core” Metadate is used in HTML. Search engines also use the Dublin Core metatData.
27. Explain the term Headroom.
Headtroom refers to how much you can push the tape beyond its dynamic range before you get distortion. It’s The difference between nominal operating level and peak clipping in an audio system. For example, a mixer operating with a nominal line level of +4dBu and a maximum output level of +22dBu has 18dB of headroom.
When you have analog recorder, you set your console output levels so that the recorder's meters reads "0" on the loud peaks. For most signals the recorder can record above zero without severe distortion; this extra capability becomes your "headroom." Analog tape can't take loud very high-frequency signals. When recording things like cymbals by themselves, set the levels to read "-6" When you are sending to a digital recorder, set your console output levels to "-6" because the digital recorder can't record above "0" by any amount without severe distortion. Recording at "-6" gives you the headroom that you need to properly record an unexpected peak.
The reality is that digital has NO HEADROOM, because there is no margin for overshoot. You simply must make sure that the entire dynamic range of the signal fits within the limits of the dynamic range of your recorder, without exception. The only meaningful absolute on a digital recorder, therefore, is the point at which you will go into overload. The result is the metering system we now have. 0 dB represents digital ceiling, or full-scale. The negative numbers on the scale represents your current level relative to the ceiling.
28. Explain the term Crest factor.
Peak to average ratio is also known as Crest Factor
The ratio of the peak value to the RMS value. Musical signals can have peaks many times higher than the RMS value. The larger the transient peaks, the larger the crest factor.
29. What skills and abilities must a Mastering Engineer possess?
Have an “if it ain’t broker don’t fix it” attitude.
It's all too possible to concentrate on a perceived fault, fix it, and in the process screw five other things up.
Be able to read a VU meter to determine relative loudness.
Because it gives an indication of loudness, and the absolute and relative loudness' of tracks on an album have an immense effect on their perceived sound. A peak meter is virtually useless for judging loudness. The classic example is the human voice - a very quiet voice can have an extremely high peak level. It "looks" loud on a digital meter, but it sounds quiet. Because of it's mechanical properties, a VU looks much more as things sound in terms of level. If you learn how the VU relates to loudness it'll help you make good judgements in "mastering".
Know your equipment and the room.
A mix can sound different from studio to studio depending on the room and your monitors. Know the sound of your room so you can compensate for it. For example, you room adds a lot to the bass. Play the mix at home or in your car to compare. After all, most people will not be listening to the CD in a high tech studio.
Be impartial
. Use your ears rather than anyone else's suggestions about EQ, compression and the rest. Don't assume that because the settings you had for the previous track worked and the next one was mixed on the same day at the same studio, it has any of the same needs or problems.
Have good people skills and patience:
you’ll need to communicate with the producer, the artist and the engineer about what changes you want to make and why.
30. What does the term “Masking” mean?
The human hearing phenomenon where the response to one stimulus is reduced in the presence of another, i.e., two sounds arrive but only one sound is heard. Particularly evident when one sound is louder than another, with the result being that we hear the louder sound, even if arriving at a slightly different time. Frequency plays a part: a louder sound heard at one frequency prevents softer sounds near that frequency from being heard. However, not all frequencies mask the same. Mid-band frequencies mask far better than low frequencies, for example.
31. Explain the Hass Effect.
A psychoacoustic effect in which the time of arrival of a sound to the left and right ears affects our perception of direction. If a signal is presented to both ears at the same time at the same volume, it appears to be directly in front of us. But if the signal to one ear, still at the same volume, is delayed slightly (0 to 5 msec), the sound appears to be coming from the earlier (non-delayed) side. |
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Tue Apr 22, 2003 10:34 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Normalisation |
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Nancy, nice one!
Just check over some of the DSP functions found in DA software and have a look at normalling. I probably should have said "normalisation".
Chrish |
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Wed Apr 23, 2003 12:41 am |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Normalization |
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Oh, THAT kind of normalling! 8O
Normalization means to make all the tracks the same level. It increases the volume of the signal by whatever amount is needed to bring the highest peak up to 0 dB, full-scale. Normalizing audio during a CD transfer is simply an easy way to get the audio as loud as it can be without changing the dynamics whatsoever, and without distorting it. |
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Wed Apr 23, 2003 2:44 pm |
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resol69
Joined: 31 Dec 2002
Posts: 69
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| Normalization |
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Oh, THAT kind of normalling! 8O
Normalization means to make all the tracks the same level. It increases the volume of the signal by whatever amount is needed to bring the highest peak up to 0 dB, full-scale. Normalizing audio during a CD transfer is simply an easy way to get the audio as loud as it can be without changing the dynamics whatsoever, and without distorting it. |
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Wed Apr 23, 2003 2:44 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Dynamically Rich |
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Nancy.
I really enjoyed the article, was a refreshing read from someone who gives a shit. This bit was great:
"WHY IS THE LOUDER IS BETTER APPROACH THE WRONG APPROACH? BECAUSE WHEN ALL OF THE SIGNAL IS AT THE MAXIMUM LEVEL, THEN THERE IS NO WAY FOR THE SIGNAL TO HAVE ANY PUNCH. THE WHOLE THING COMES SCREAMING AT YOU LIKE A MESSAGE IN ALL CAPITAL LETTERS. AS WE ALL KNOW, WHEN YOU TYPE IN ALL CAPITAL LETTERS THERE ARE NO CUES TO HELP THE BRAIN MAKE SENSE OF THE SIGNAL, AND THE MIND TIRES QUICKLY OF TRYING TO PROCESS WHAT IS, BASICALLY, WHITE NOISE. LIKEWISE, A SIGNAL THAT JUST PEGS THE METERS CAUSES THE BRAIN TO REACT AS THOUGH IT IS BEING FED WHITE NOISE. WE SIMPLY FILTER IT OUT AND QUIT TRYING TO PROCESS IT."
Rip summarises the paradox with passion and dispite his rethoric of
"So I encourage you to write to your favorite bands and tell them that you will quit buying their CDs if they insist on trying to make them the loudest CDs you own"
I dig his slant.
Ironically, I'm listing to this right now:
<P><center>
<img src="http://www.audiocourses.com/part3/tasty.jpg"><P></center>
It's subtle mastering and a tastful overal level, of course it will not hold it's own, level wise, with a single, but it's a wonderful live album, as it should be, dynamically rich.
Chrish
P.S. Don't worry about your levels, you got it!
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Wed Apr 23, 2003 11:32 pm |
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Aidan
Joined: 08 Jan 2003
Posts: 38
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Refs: www.rane.com
www.sound-on -sound.com
www.prorec.com/prorec/articles.nsf/files/D035BAA5D245F6B9862567DF001914F.2
www.record-producer.com/mastering/.html
1.What is mastering?
Its the process of taking a mix and preparing it for manufacturing.It includes putting finishing touches to a mix to make it sound professional , making sure levels on all tracks are consistent and ensuring mix is fully prepared for manufacture or duplication.
2.Why is mastering necessary?
To ensure tapes are of a sufficiently professional standard to meet the demands or expectations of the market,ie consumers,radio,critics and record labels.Mastering ensures that your mix is able to satisfy demands of an increasing variety of formats,eg Vinyl,DCC,MiniDisc,CD,SCAD,HDCD,DVD-Audio,cassette etc.
3.What is post production?
Its the the preparation of tapes ready for mastering.It includes editing,copying and adding fades together with labelling,track order and insertion of tape information such as start points,end points,song duration,sample rates,details of machines used,noise reduction and EQ settings.
4.Comment on preparing your tapes.
Preparation of tapes should ensure that all relevant information is available for the mastering process.It should ensure tapes are fully labelled with dates and times of recordings.Other details should include tape speed,track format,noise reduction and EQ used,sample rates and type of recording machines used.
5.Comment on 'stereo bass'.
This refers to disc cutting.When a record is being cut the stylus moves up and down and left and right.Left Right movement is for the mono part of the mix and up Down movement is the stereo part.When cutting a low note such as bass a lot of stylus movement is required.A very low bass can result in a large up down movement resulting in the groove being cut too deep or too shallow.Most cutting rooms have devices to correct this eg.EE-Elliptical Equalised,VBC-Vertical Bass Cut and VAL-Vertical Acceleration Limiter.In general it is best to put bass in middle of mix to avoid these problems.
6.Why is mono compatibility such an issue?
Simply because a large number of radio stations still broadcast in mono.
7.What is meant by the term "start ID"?
This refers to the use of DAT for mastering and its where ID information is put at half a second or so before start of a song or track.Its best to use the manual mode instead of Auto Mode on DAT as Auto Mode can result in loss of first note or two of song.
8.What are the 3 types of Disc Cutting?
Cutting to Lacquer Master,Acetate and Direct Metal Master.
A lacquer master is an alumunium disc with a lacquer coating larger in diameter size than the finished record and very fragile.
An acetate is the same as a lacquer but its diameter size is the same as the finished record.Its purpose is for playing at home and checking the cut and although not as fragile as a lacquer it will deteriorate with prolonged use.
A Direct Metal Master is also larger than a finished record and is made of copper.Its purpose is also as a master. |
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Thu Apr 24, 2003 1:35 pm |
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AUdIoCoUrSeS
Joined: 31 Oct 2002
Posts: 2014
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| Any Luck |
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Good stuff Aidan, looking forward to some more.
Any luck with the practical?
Chrish |
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Thu Apr 24, 2003 1:56 pm |
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Goto page 1, 2 Next
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