Summary of Виниловых дел мастер. часть 1

00:00:00 - 00:25:00

In the YouTube video "Виниловых дел мастер. часть 1," the speaker explores the engineering aspect of producing vinyl records , introducing mastering engineer Stanislav Semenov to explain the process. Semenov discusses the importance of preparing suitable audio material, which can be digital files or analog tapes. He emphasizes the need for an optimal RMS level for vinyl mastering, which is lower than modern mastering for digital platforms. The speaker measures the material's peak values and checks for adherence to the RIAA correction curve. The speaker also debunks the myth that songs with narrower frequency ranges were intentionally placed last on records. Instead, less intense or low-frequency songs should be placed towards the end for optimal vinyl production. The ideal length for a side of a 12-inch vinyl record is approximately 18 minutes. The mastering engineer uses a control panel with an equalizer, compressor, and filters to adjust the frequency range for vinyl production. The speaker discusses the importance of RIAA equalization, a correction system developed in the late 1960s, which corrects low frequencies during recording and restores them during playback. This system ensures consistent sound quality across all recording and playback devices. The speaker also mentions the use of two grooves on a vinyl record: the main groove and a duplicate groove, which allows the record player's computer to read the record's information in advance. The speaker then discusses dynamic processing, specifically using compressors to adjust the overall sound level of the vinyl master. The speaker also shares their experience with reissuing classical music records and the importance of mastering for vinyl production. Unfortunately, in this particular instance, the speaker was unable to make any adjustments to the recording due to it already being prepared. The process is more complex and expensive due to the additional time required. The speaker then shows the audience some unique magnetic tape recorders and the record cutting lathe, which are rare and fascinating to vinyl record enthusiasts.

• 00:00:00 In this section of the YouTube video "Виниловых дел мастер. часть 1," the speaker expresses excitement to move on to the engineering aspect of producing vinyl records. He introduces the mastering engineer, Stanislav Semenov, who will explain the process. Semenov begins by discussing the two types of audio material: digital and analog on tape. He then explains that making vinyl records is a lengthy process consisting of several stages, with the first being the preparation of the audio material.
• 00:05:00 In this section of the mastering studio video, the speaker receives the material for evaluation. If it's suitable, it proceeds to work; otherwise, it needs to be reworked. The material can be digital files sent via email or physical media like analog or digital tapes. If the material is unsuitable for vinyl production, it's often due to modern mastering, which produces very loud files for digital platforms. For vinyl mastering, an optimal RMS level is required, which is lower than in the past. The speaker measures the material's peak values with a meter and compares them to the ideal RMS level for vinyl. If the material matches these levels, it's suitable. However, grommet material sounds poor on vinyl due to the mechanical recording process. The speaker also mentions the importance of observing the RIAA correction curve during vinyl production. Despite the vintage production setup, modern companies like Neumann have built this system into their equipment.
• 00:10:00 In this section of the YouTube video "Виниловых дел мастер. часть 1," the speaker discusses the need for a correction system in vinyl record production. This correction system, known as RIAA equalization, was developed in the late 1960s and is essential for cutting and playing back vinyl records. The system corrects the low frequencies during recording to prevent the needle from going too deep into the grooves, and during playback, it restores the original sound by raising the low frequencies. The RIAA equalization system acts as an equalizer, limiting the recording of low frequencies and restoring them during playback. The speaker explains that this is necessary to maintain a linear sound and ensure that the recording and playback devices have the same frequency response. The system allows the vinyl record to cover a normal frequency range of 20 Hz to 20 kHz, although this can vary depending on the recording needle used. The speaker also mentions that there are some misconceptions among vinyl enthusiasts about how records were manufactured, with some believing that factories intentionally produced records with specific frequency responses. However, the RIAA equalization system is a standard that ensures consistent sound quality across all recording and playback devices.
• 00:15:00 In this section of the "Виниловых дел мастер. часть 1" YouTube video, the speaker debunks the myth that songs with narrower frequency ranges were intentionally placed last on records. He recommends placing less intense or less high-frequency songs towards the end of a side for those seriously involved in vinyl production. The ideal length for a side of a 12-inch vinyl record is approximately 18 minutes to avoid losses in sound quality. However, some recordings can last up to 28 minutes. The mastering engineer uses a control panel, which includes an equalizer, compressor, and specific devices to adjust the frequency range. For instance, an elliptical filter collects frequencies up to 360 Hz, allowing the stereo panorama to be narrowed. Modern musicians, especially DJs and club music producers, often use low frequencies extensively, which can be critical for vinyl. Consequently, the low-frequency filter cuts off frequencies below 20 Hz. If a recording has a particularly bright sound with high frequencies, a high-frequency filter cuts off frequencies above 20 Hz, although the human ear cannot hear these frequencies, the equipment still processes them.
• 00:20:00 In this section of the "Виниловых дел мастер. часть 1" YouTube video, the speaker discusses the process of vinyl record mastering, specifically addressing the issue of sound quality as the needle approaches the record's center. To maintain the highest possible sound quality, the speaker uses equalizers to adjust sound levels, particularly in the higher frequencies. The speaker mentions that up to 15 kilohertz, they raise the level by around three to four decibels during recording. This correction process, in addition to the RIAA correction, helps prevent the record from becoming too muddled. The speaker also explains the use of two grooves on a vinyl record: the main groove and a duplicate groove. The duplicate groove, which runs slightly ahead of the main groove, allows the record player's computer to read the record's information in advance, ensuring accurate tracking and gating. The speaker also mentions that a fog, which replaces the old mechanism used for winding tape on reel-to-reel recorders, plays a role in controlling the stylus's step and depth. The speaker then discusses dynamic processing, specifically using compressors like the Shadow Hills and more modern options like the Basilisk, to adjust the overall sound level of the vinyl master. When dealing with unmastered files, the speaker uses dynamic processing to make the file sound more modern and meet the maximum volume levels required for vinyl production. The speaker also shares their experience with reissuing classical music records, such as Rachmaninoff, and the importance of mastering for vinyl production.
• 00:25:00 In this section of the YouTube video "Виниловых дел мастер. часть 1," the speaker discusses the use of an equalizer and compressor in the mastering process of vinyl records. Unfortunately, the speaker was not able to make any adjustments in this particular instance because the recording was already prepared. The only correction made was a slight increase in volume. The speaker mentions that this process is important for managing the dynamic range of the recording, especially for contemporary recordings. The console used for mastering includes equalization, compression, and control of the recording machine for pressing discs. The speaker explains that the equalization and dynamic processing with this equipment produce a very soft sound. The results are saved in a file or recorded directly, depending on the source. If the source is analog, such as on tape, the process occurs in real-time. The speaker also mentions that the client is often present to approve the sound of their recording. This process is more complex and expensive due to the additional time required. The speaker then discusses the use of digital files, which are first converted to an analog signal using high-quality digital converters, then processed with all the equipment, and finally converted back to a digital signal for approval by the client. The speakers then show the audience some unique magnetic tape recorders and the record cutting lathe, which are rare and fascinating to vinyl record enthusiasts.