mastering for vinyl

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i am putting out a 7 inch of this rock band, and i wanted to know if anyone could tell me what sort of mastering concerns are specific to a vinyl release. Its being pressed, i'm not making lathe cuts. It's definetly a lo-fi record, and
this may sound like heresy but i don't really want to get it mastered for any sort of quality increase -- the rawer the better with this release. i just don't want the record to skip when the bass gtr and kick hit at the same time, etc.

I know mastering in this situation is not just an investment in quality but is also security against getting back a screwed up test press. even if the answer is "don't be stupid get it mastered" i am still very curious as to how someone would master a song differently if they knew it was destined for vinyl, if they do at all.
 
The whole "skip the groove" and "mastering for vinyl" thing revolves around two main processes.

One process involves the application of negative RIAA* response curves to the sound. These curves are equalization curves that shape the sound in a specific way (kind of like weighting curves, though the specific curves are different.) While these curves have other details to them, one of their major functions is to cut the bass frequencies in order to put them in the range required for the phonograph to be able to track it without skipping. The phonograph preamp then applies the corresponding positive RIAA curve to the signal on playback, so that it sounds "normal" to us again.

Then the second process is for the ME to take it the rest of the way. The RIAA curves get it in the general ballpark, the ME fine tunes the equalization with the human touch. His job regarding the bass is to find the best balance of three variables; on albums, keeping a consistent sound or feel from song to song, maximizing the bass response while making sure it remains trackable without throwing the stylus, and making sure everything will physically fit on the vinyl (the more bass, the wider the groove; the wider the groove, the more physical vinyl space the song will take up).

There is of course more to MEing than just these two processes and considerations, but I think it's probably a good basic coverage of the main concerns specific to vinyl. And it should be enough to tell you that unless you have experience in vinyl mastering, "don't be stupid get it mastered" by someone who does. ;)

G.

*Yes, you kids out there, it wasn't that long ago that the RIAA were the good guys whose standards made the industry possible, and not the evil bastards from hell who must be destroyed for trying to keep you honest. :D
 
The RIAA curve can be applied on the fly during cutting, and a pressing plant should not require you to have it applied.
On the other hand, applying it in software might help you immediately seeing the width the groove will have as it is proportional to the wave's amplitude. (Only applicable for digital mixes, of course)

Other than that, the most important thing is to keep the low frequencies mono and no frequencies bellow 40 Hz. You usually can apply a high pass filter at a few hundred Hz on the side channel, and a narrow shelf high pass filter at 40 Hz on the mid channel.
A 7 inch has an inferior noise ratio compared to a 12 inch maxi, so you might consider some multi band compression, depending on how dynamic your mix is now. Also some low pass filter at around 16 kHz might help as well, since a 7 inch is not that good with high frequencies either.

You also should take a look at the pressing plant's site of your choice for detailed requirements, as they may differ somewhat from plant to plant.
 
thanks very much

thanks very much for the detailed information.
i knew about the inverse RIAA curve and how more bass=more track width from doing lathe cuts, and in this case the plant is taking care of the process inverse RIAA process. its a 45 and the side lengths are 2:56 and 3:17 minutes, the mix itself is very mid-heavy so i think the noise floor will be okay, right? i followed some of the steps Logic Deluxe suggested and i think it will work well.

Normally I would get it mastered, i just submitted my bands new 7" material to my label to be mastered after I recorded it and was astonished with how great it sounds. i can't wait for the test press. like i said, the only reason i don't want this to be mastered is because its supposed to be raw, harsh etc. think screaming noise (the japanese band) or shitty live recordings. wall of noise type deal, really blown out garage rock.
 
i guess what i am saying is i don't feel like getting a turd polished.
 
atom_bomb said:
i guess what i am saying is i don't feel like getting a turd polished.
Click to expand...
Well, I'm sure you have heard the corollary to polishing a turd; A polished turd still smells like a turd. ;)

"Rawness" or "turdishness" is going to come mostly from the sound of the tracking and the mix, and mastering is not going to get rid of that basic quality.

What can help you nonetheless is if you have a line of communication with the place mastering your stuff and you can let know your intentions and desires. Not all plants and mastering services are conducive to that, though.

G.
 
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