Bit rate headroom e compression 3.
Rms vinyl mastering.
Rms does not take into account the psychoacoustic nature of apparent loudness as heard by the human ear but the integrated loudness measurement specifically does.
Stereo fields frequencies levels 6.
Stimated side lengths volume level 7.
Mastering for vinyl is the process of creating a separate master that can be cut into a vinyl record without added unwanted distortion.
When mastering a track it s crucial to understand the difference between rms and peak levels.
It consists of a mono stereo image up to 150hz a tamed high end and if needed a track listing that is consistent with the frequency limitations of record cutting.
In summation i d say there are several things you need to check for vinyl mastering and there is a subtle optional layer of tweaking that.
And the great british recording studios which includes a foreword.
Even though the peak volume indicator showed that my track s.
Howard massey is a producer engineer musician technical writer and consultant to the pro audio industry through his company on the right wavelength he is author of over a dozen books including behind the glass vols i and ii collections of interviews with the world s leading engineers and producers.
The optimal level for a vinyl cut depends on the rms or vu level and on the running time and speed 33 or 45 rpm whereas on a cd the only absolute technical restriction is the peak level.
For vinyl the optimum source is 24 bit dynamic and limited either extremely lightly or not at all.
First of all the quality sound of your vinyl depends on the mastering so please follow these rules as explained below.
The sequencing difference is that delivery from mastering for digital is either individual wav files for download or a single ddpi file for cd replication whereas for vinyl the delivery is generally two wav files one for each side of the record.
We recommend a level of 10 to 12 db rms and.
Furthermore some rms meters average rather than sum input giving you an inaccurate reading of up to 3 db or more.
Due to the physical nature of the cutting and playback process there are a number of considerations and limitations that must be addressed in mastering.
Sampling rate frequency range 4.
Today i m going to show you what they are and how we can use them.
