hello ppl. anyone know any good quality UK based vinyl pressing plants
that are still around. looking at getting some
techno/house/electro/jungle tracks pressed. loads of labels use D&M it
seems but they are Berlin based and I think they sound a bit too clean
for my liking. something close to NSC in detroit would be just fine...

peace, robo_creeler.

wrote:

hello ppl. anyone know any good quality UK based vinyl pressing plants
that are still around. looking at getting some
techno/house/electro/jungle tracks pressed. loads of labels use D&M it
seems but they are Berlin based and I think they sound a bit too clean
for my liking. something close to NSC in detroit would be just fine...

Strangely enough............
http://www.google.com/search?hl=en&h...ant+uk&spell=1

Gives several hits

Graham

WELL **** ME...another sarcastic **** hanging out on these boards hey!

wrote:
WELL **** ME...another sarcastic **** hanging out on these boards hey!



You don't know the half of it.

wrote:

WELL **** ME...another sarcastic **** hanging out on these boards hey!

As they say, all you have to do is use the right search terms. ;-)

Good luck with your venture.

Graham

p.s. yw btw

what does 'yw btw' mean.....oh I'll google it ;-)

"Dr. Dolittle" wrote:

wrote:
WELL **** ME...another sarcastic **** hanging out on these boards hey!

You don't know the half of it.

Oi ! Watchit ! ;-)

Graham

wrote:

what does 'yw btw' mean.....oh I'll google it ;-)

It means " you're welcome by the way " ( for me looking it up for you )

Graham

wrote:

what does 'yw btw' mean.....oh I'll google it ;-)

Yup, Google finds it.

Graham

wrote:
hello ppl. anyone know any good quality UK based vinyl pressing plants
that are still around. looking at getting some
techno/house/electro/jungle tracks pressed. loads of labels use D&M it
seems but they are Berlin based and I think they sound a bit too clean
for my liking. something close to NSC in detroit would be just fine...

Most of my customers in the UK are getting their pressings done by
Record Industries in Holland. They do nice work there. The guys in
the Czech Republic also seem to be getting some business but I haven't
personally used them.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article .com,
wrote:
WELL **** ME...another sarcastic **** hanging out on these boards hey!

Please. This is a Usenet newsgroup. Not a "board."
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

En/na ha escrit:
hello ppl. anyone know any good quality UK based vinyl pressing plants
that are still around. looking at getting some
techno/house/electro/jungle tracks pressed. loads of labels use D&M it
seems but they are Berlin based and I think they sound a bit too clean
for my liking. something close to NSC in detroit would be just fine...

peace, robo_creeler.


here are some urls (not only from uk, but i think there are some):

http://del.icio.us/tag/recordpressing

In article , alex wrote:
En/na ha escrit:
hello ppl. anyone know any good quality UK based vinyl pressing plants
that are still around. looking at getting some
techno/house/electro/jungle tracks pressed. loads of labels use D&M it
seems but they are Berlin based and I think they sound a bit too clean
for my liking. something close to NSC in detroit would be just fine...


here are some urls (not only from uk, but i think there are some):

http://del.icio.us/tag/recordpressing

Nope. None of these are from the UK. Also be aware that some of these
guys are just brokers that don't do the actual pressing in-house.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

http://www.exchangemastering.co.uk/mastering.htm

I know someone who get's their stuff done here.
Not cheap. Very good!

wrote:

hello ppl. anyone know any good quality UK based vinyl pressing plants
that are still around. looking at getting some
techno/house/electro/jungle tracks pressed. loads of labels use D&M it
seems but they are Berlin based and I think they sound a bit too clean
for my liking. something close to NSC in detroit would be just fine...

peace, robo_creeler.

yup, I've got a few records with "SIMON - THE EXCHANGE" scratched into
the run out groove - guess thats them. I am a touch confused tho - I
always thought that you'd get your tracks mastered up by an engineer
regardless of the final medium then use that to get the metal work
done. but it seems the metal work guys want to do all the mastering
too. if so then I'd have to pick very carefully 'cos I think mastering
is well crucial. I know either way you still have to do the vinyl
mastering like rolling of the bass end and phase things etc...

damont http://www.damontaudio.com/services.html seems to crop on a few
classic sides too. looks like they just do the pressing tho.

thanks punters.

wrote:
yup, I've got a few records with "SIMON - THE EXCHANGE" scratched into
the run out groove - guess thats them. I am a touch confused tho - I
always thought that you'd get your tracks mastered up by an engineer
regardless of the final medium then use that to get the metal work
done. but it seems the metal work guys want to do all the mastering
too.

That's what mastering IS. Mastering is cutting the master lacquer.
If you are going to do any processing it needs to be done at that time
because otherwise you have no notion what that processing is going to do
to the groove.

The "metalwork" is different. That is the process of turning the lacquer
into the stamper. That's usually done either by the pressing plant or by
a specialty outfit (Mastercraft in New Jersey seems to be used by half the
US).

THEN comes the pressing. And the pressing may be done by the same company
doing the mastering or not.

if so then I'd have to pick very carefully 'cos I think mastering
is well crucial. I know either way you still have to do the vinyl
mastering like rolling of the bass end and phase things etc...

If it's properly mixed and you haven't done anything boneheaded like throw
in a lot of out-of-phase bass or loud high pitched sounds, there really
isn't a lot of processing that needs to be done. But if you want processing
done, it needs to be done while watching the phase meter and watching the
groove being cut.

damont http://www.damontaudio.com/services.html seems to crop on a few
classic sides too. looks like they just do the pressing tho.

Right. You have the lacquer cut IN AN ATTENDED MASTERING SESSION by
your choice of mastering engineer, then you send the lacquer and the
camera-ready artwork for the labels and covers to the pressing plant.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

nice to get it all straight for once. I know a lot of what I want
pressing needs a good mastering engineer to get hold of it first - that
would be the same even if going to CD. many tracks will need bass
adjustments, dynamics processing and other EQ. I can do all this
myself but without a good room I'll just make it worse! but paying for
proper 'stand alone' mastering like this is going to cost. probably
best I find a good all in one package. but you get what you pay for.
thanks for your help scott.

if I keep diggin I'll find what I want...

wrote:
nice to get it all straight for once. I know a lot of what I want
pressing needs a good mastering engineer to get hold of it first - that
would be the same even if going to CD. many tracks will need bass
adjustments, dynamics processing and other EQ. I can do all this
myself but without a good room I'll just make it worse!

No. You can't do this yourself because you aren't looking at the
groove.

You ABSOLUTELY MUST be watching the lathe when doing any audio processing
for vinyl.

I see all the time kids who try and do some 2-track processing before sending
the tape off for cutting. They invaribly wind up using something that is not
precisely matched between channels, introducing spurious L-R components,
and making the mastering engineer's life miserable.

Channel matching is absolutely critical, first of all. Secondly any dynamic
and EQ changes that you make are going to affect the ease of cutting of the
record and that's going to affect the maximum level that you can put down.

For example, I occasionally see misguided folks applying hard limiting to
tapes, then sending them off for LP mastering. They somehow think that chopping
off peaks is going to make their record louder, but in fact because the
LP format can handle occasional high peaks without problems, what they wind
up doing is adding high frequency components that make the record HARDER to
cut, and the end result is the cutting engineer has to bring the levels
DOWN. They wind up with a record that isn't as loud because of their
misguided attempts to increase loudness.

but paying for
proper 'stand alone' mastering like this is going to cost. probably
best I find a good all in one package. but you get what you pay for.

The guys at Music Industries do have a good all-in-one package, and they
have some good mastering engineers. But you won't be able to attend the
mastering session unless you fly to Amsterdam.

To be honest, you won't save any money by getting the mastering done
unattended. And you'll probably learn a lot in the process if you do
attend the session.

thanks for your help scott.

I did an article on why mixing for vinyl is very different than mixing
for CD, in the July 2004 issue of Recording magazine. Probably available
at your local library.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article ,
" wrote:
but paying for
proper 'stand alone' mastering like this is going to cost. probably
best I find a good all in one package. but you get what you pay for.
thanks for your help scott.

if I keep diggin I'll find what I want...

I've been thinking that what I really should do is be a mastering engineer.
It seems to fit more my personality and experience level - basically, all
you need is a good set of headphones and some really good electronics,
cables, etc. It should be pretty easy, compared to schlepping around a
bunch of mics and cables and stands and **** recording lame high school
orchestras.

I'm going to take a run into B&H for some gear later this week, and when I'm
set up we can work a deal.

Bob

"Robert Morein" wrote in message
.. .
In article ,
" wrote:
but paying for
proper 'stand alone' mastering like this is going to cost. probably
best I find a good all in one package. but you get what you pay for.
thanks for your help scott.

if I keep diggin I'll find what I want...

I've been thinking that what I really should do is be a mastering
engineer.
It seems to fit more my personality and experience level -

Forgery by Brian L. McCarty.

On Tue, 16 May 2006 10:03:28 -0400, "Robert Morein"
wrote:


"Robert Morein" wrote in message
. ..
In article ,
" wrote:
but paying for
proper 'stand alone' mastering like this is going to cost. probably
best I find a good all in one package. but you get what you pay for.
thanks for your help scott.

if I keep diggin I'll find what I want...

I've been thinking that what I really should do is be a mastering
engineer.
It seems to fit more my personality and experience level -

Forgery by Brian L. McCarty.

Devilishly inventive, isn't he? :-)

On 5/16/06 7:57 AM, in article ,
"Robert Morein" wrote:


I've been thinking that what I really should do is be a mastering engineer.
It seems to fit more my personality and experience level - basically, all
you need is a good set of headphones and some really good electronics,
cables, etc. It should be pretty easy, compared to schlepping around a
bunch of mics and cables and stands and **** recording lame high school
orchestras.

I'm going to take a run into B&H for some gear later this week, and when I'm
set up we can work a deal.

Bob



Please tell me you're joking, right?!?!?


Allen
--
Allen Corneau
Mastering Engineer
Essential Sound Mastering
www.esmastering.com

OK, finally I get it! I didn't realise that dynamic processing like
compression or limiting would cause any problems. a lot of CD's I
listen to sound like they've had some pretty serious limiting applied
to them - I find it harsh and you lose something too - I guess they do
it to keep the music loud and to use as many bits as possible.

I think a good phase meter thing would be useful so I can check
specific tracks to see how they will translate to vinyl before I get
all excited. a software one on the mac would be most convenient. a
lot of modern digital processes can do funny stuff to your signal I
believe - things like comb filters and stereo resonators...which I'm
quite fond of. saying that, I've heard all kinds of crazy 3D
panning/spectral mangling FFT type things on records...who knows.

robo

"Allen Corneau" wrote in message
...
On 5/16/06 7:57 AM, in article
,
"Robert Morein" wrote:


I've been thinking that what I really should do is be a mastering
engineer.
It seems to fit more my personality and experience level - basically, all
you need is a good set of headphones and some really good electronics,
cables, etc. It should be pretty easy, compared to schlepping around a
bunch of mics and cables and stands and **** recording lame high school
orchestras.

I'm going to take a run into B&H for some gear later this week, and when
I'm
set up we can work a deal.

Bob



Please tell me you're joking, right?!?!?


Allen
--
Allen, it's a forgery by Brian L. McCarty.

"paul packer" wrote in message
...
On Tue, 16 May 2006 10:03:28 -0400, "Robert Morein"
wrote:


"Robert Morein" wrote in message
...
In article ,
" wrote:
but paying for
proper 'stand alone' mastering like this is going to cost. probably
best I find a good all in one package. but you get what you pay for.
thanks for your help scott.

if I keep diggin I'll find what I want...

I've been thinking that what I really should do is be a mastering
engineer.
It seems to fit more my personality and experience level -

Forgery by Brian L. McCarty.

Devilishly inventive, isn't he? :-)

Brian is like an RPG -- low tech, but one has to be on one's guard.

wrote:
OK, finally I get it! I didn't realise that dynamic processing like
compression or limiting would cause any problems. a lot of CD's I
listen to sound like they've had some pretty serious limiting applied
to them - I find it harsh and you lose something too - I guess they do
it to keep the music loud and to use as many bits as possible.

Yes, the loudness wars has caused some seriously aggressive crap to be
produced. Much of that just cannot, flat out, cannot be cut onto lacquer
at any reasonable level.

I think a good phase meter thing would be useful so I can check
specific tracks to see how they will translate to vinyl before I get
all excited. a software one on the mac would be most convenient.

Look for a real X-Y display instead of just a linear phase meter. There
is probably one built into your DAW software. Personally I find using
a physical one easier than using the software because the resolution is
so much better than you'll get on the screen, but the DAW one will at
least show you if you're totally out of control.

a
lot of modern digital processes can do funny stuff to your signal I
believe - things like comb filters and stereo resonators...which I'm
quite fond of. saying that, I've heard all kinds of crazy 3D
panning/spectral mangling FFT type things on records...who knows.

Yes, you can do a lot, BUT you will sacrifice loudness if you do it on
very high or very low frequencies. It's very hard to cut out of phase
bass. Avoidin any inadvertent L-R bass is half the struggle. You can
cut lots of out of phase treble... in fact, depending on what sort of
playback you're willing to accept, you can sometimes get more L-R treble
headroom than mono treble headroom. Often you wind up with discs that
won't play on a crappy Stanton 681, but part of mastering involves having
some idea what the average user is going to be playing back on and what
it can tolerate. I'll cut a lot of stuff on a disc aimed for the audiophile
market that would never be playable on a club system.
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

In article , "martin griffith"
wrote:
Hmmm, why dont you just go out with a couple of mics, with a
"busker",record something, and see what happens. listen to the
recordings, then try again, and see what works

Theory is fine, but you need to mix it with practice

I'm asking for information Martin so I can eliminate the "practice", and get
first quality recordings that I can use for my record label from the first
one. I've got this great idea to record "buskers" since, after all, they
are unemployed and unemployable losers like myself.

If you give me accurate information, why should I waste time
"experimenting"!

I've been thinking that what I really should do is be a mastering engineer.
It seems to fit more my personality and experience level - basically, all
you need is a good set of headphones and some really good electronics,
cables, etc. It should be pretty easy, compared to schlepping around a
bunch of mics and cables and stands and **** recording lame high school
orchestras.

I'm going to take a run into B&H for some gear later this week, and when I'm
set up we can work a deal.

Bob

Bwian said:

I'm asking for information Martin so I can eliminate the "practice", and get
first quality recordings that I can use for my record label from the first
one. I've got this great idea to record "buskers" since, after all, they
are unemployed and unemployable losers like myself.

I have a better idea: Open a School for Scammers. That's your area of
expertise, right? You can also include courses on Usenet stalking,
mailbombing, tattling to ISPs, and all the other productive skills you've
developed during your years of mental decline.






--

A day without Krooger is like a day without radiation poisoning.

Scott Dorsey wrote:

Most of my customers in the UK are getting their pressings done by
Record Industries in Holland. They do nice work there. The guys in
the Czech Republic also seem to be getting some business but I haven't
personally used them.

is there any way to identify a record mastered at Record Industries?
do they leave their mark in the runout groove?

there is also http://www.optimum-mastering.com/ - I'm pretty sure I've
got a few discs mastered by these guys - if it is them they sound damn
fresh.