About our lathe cut vinyl

We offer lathe cut vinyl in stereo at 33 1/3 rpm and 45 rpm. Each record is hand cut and one of kind. There are no two pieces a like. This is a different process than store bought vinyl from a pressing plant. It's a completely different process. There are some limitations to the format but is closely comparible in quality and durability to pressed vinyl. We offer 7" and 12" in Black, and clear. 

Well, everybody faces the fact there really aren’t many records stores around to just go and browse. Maybe browse online, yet that tactile feel of flipping through a stack of vinyl remains one of life’s simple pleasures.
— Billy Gibbons

The packaging is a full color heavy paper stock that's cut and glued, including a white dust cover as well as clear poly sleeve. Each record can be ordered with front and back center labels either black and white or full color.For DJ's we also offer plain black cover with black and white center label. Lathe cut vinyl has been around since the 1950's and has been collected by vinyl enthusiasts for decades.

 
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I’m a big collector of vinyl - I have a record room in my house - and I’ve always had a huge soundtrack album collection. So what I do, as I’m writing a movie, is go through all those songs, trying to find good songs for fights, or good pieces of music to layer into the film.
— Quentin Tarantino
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Audio Prep

Every recording is different and has a different set of challenges to cut on to vinyl. In order to make the best cut possible the audio needs to be be prepped. There are limitations to the format so in order to adjust for these limitations certain rules apply.

Always have all low end frequency's in the center of the stereo image. Loud bass frequencies on the outside edge of the stereo image will not work. In a case where it can't be adjusted or mixed to the center the audio will need to be made mono in order to make a proper cut. 

As far as high frequencies go the format doesn't like much over 5 Khz. You might notice on some of your newer vinyl that the sibilance is distorted. In this case a de-esser is needed. The same goes for other high frequencies in the mix such as high hat. Any frequencies over 5 Khz will need to be adjusted as well.

Compression is also another factor. What is mastered for digital like a C.D. is not necessarily a good fit for vinyl. It is much better to have the raw mixes before mastering for digital to be used of the vinyl masters. Leave the dynamics instead of using a brick wall limiter on the mixes. 

Remember the vinyl can only be as good as the source files. There are already limitations to vinyl. Please send a lossless audio file if you are sending a digital format (CD quality or higher .wav, .aiff). The ideal format would be 24bit 96Khz for the sample rate. But if not please don't send any lower than 16bit 44.1 Khz. If a lossy format such as .mp3 is all you have we can still cut using that file type it just isn't ideal. 

 
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Vinyl is the real deal. I’ve always felt like, until you buy the vinyl record, you don’t really own the album. And it’s not just me or a little pet thing or some kind of retro romantic thing from the past. It is still alive.
— Jack White
I remember opening up my first vinyl and seeing the incredible artwork it had. There’s nothing like it. You also get that true gritty sound on vinyl that really makes a rock record sound great, which CDs can never achieve.
— Nikki Sixx

Recording Time

33⅓ RPM  12"-Try and keep side lengths to 18 min for best volume and quality.

45 RPM 12" -Try and keep side lengths to 12 min for the best volume and quality.

 

33⅓ RPM  7"-Try and keep side lengths to  6 min for best volume and quality.

45 RPM 7" -Try and keep side lengths to 4 min for the best volume and quality.