Vinyl Production


Vinyl records are increasingly one of the preferred ways, by artists, to produce their work in physical format. Much of this preference is due to the fact that vinyl records are increasingly in vogue, mainly due to the nostalgia that led to an exponential increase in demand.

But are the requirements for producing a vinyl record with the best possible sound known?

Paulo Miranda, record producer, from AMP studio gives us his advice so that you can make the most of a vinyl record production.

Branditmusic: What precautions should the artist take to get the most out of the vinyl record?

Paulo Miranda: Often, the Digital Master that the client supplies to the vinyl master may not sound good because it has too much sibilants or high frequencies that are too strong and that are impossible to correctly transcribe in the lacquer disc. The Digital Master for a vinyl edition has to take certain precautions that are not necessary for the CD replication which is much more tolerant.

Branditmusic: In vinyl production, when the sound is different from what is supposed and there is a difference in the treble, what can we do?

Paulo Miranda: It is natural that there is a difference. If, on the one hand, we cannot expect the surface of a vinyl record, with its “technical limitations” to sound like a digital master, on the other hand, these same “technical limitations”, I would rather designate them by characteristics, they cannot be an argument for an exaggeration of quality loss.

Branditmusic: What then are the ideal conditions to obtain the best possible sound in the production of a vinyl record?

Paulo Miranda: The frequency response of a vinyl record should be more or less linear up to 15KHz. I would say that you can hear very good and clear high frequencies, without distortion, on a disc with almost 20 minutes on each side with 33 RPM, naturally.

Branditmusic: What can we do if the record time exceeds the suggested time?

Paulo Miranda: If you have a lot of playing time on each side, it should be necessary to decrease the sound volume and decrease the bass when preparing the master. In this case, high frequencies may distort more in the turns close to the center of the record, but this is not because there are more turns, or time. The truth is that high frequencies, like the volume, can be more perfect on a 12 ”disc at 45 RPM. On a 7 ”disc at 45 RPM, high frequencies are no better than in a regular 12” LP. Therefore, in this case, the rotation of the disc does not influence anything.