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♦ PDF Cover Page ♦

♦ Verso Filler Page ♦
♦ Verso Filler Page ♦
BASIC DISC MASTERING

Copyrighfc 1981

LARRY BODEN
P.O. Box 3043

Glendale, CA 91201

Photographs and Illustrations by

Dave Hernandez except where noted.

Book design, layout, typesetting, and production art

by Novatype, Glendale, California

Sole U.S. Agent:

Full Sail Recording Workshop

1221 lee Road, Orlando, FlA. 32810

—1—
—2—
 Table of Contents

How Grooves Work . . . . . . . ... . . . . . . . ..... . . . . . ..... . . . . . . . ..... 4

The CuHing Lathe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The Mastering Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Low Frequency Crossover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

The Oscilloscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

The Microscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The Lacquer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The CuHi ng Styl us . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Common Mathematical Formulas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Half Speed Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

The Buchman-Meyer Light PaHern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Recorded Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Diameter Losses . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . 30

Practical Considerations . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . 31

How Records Are Pressed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Common Record Defects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Disc Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

The RIAA Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Maj or U.S. Mastering Facilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Major U.S. Pressing Plants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

—3—
 How Grooves Work

A primary need to anyone interested in a close Stereo happened when some very clever people
study of the disc recording procedure is a firm and found a way to use a combination of both side to
complete grasp of the physical nature of record side motion (called lateral) and up and down motion
grooves. (called vertical). One channel would be cut in the
Perhaps the best way to do thi s is to thoroughly vertical plane at the s ame time another would be cut
explain how monophoni c grooves work first, and in the lateral plane.
then move on to stereo. This kind of stereo worked, but had several big
fla ws. One of the biggest was co mpatibility with
mono pickup cartridges. At this point, some more
clever people known as the Westrex Company
developed a technique called the 45/45 system th at
eli minated the flaws and is no w the universally
accepted method.

STEREO GROOVE
WITH INFORMATION
STEREO GROOVE

Cross section ot a cutting stylus culling a mono groove, showing LEFT CHANNEL
WITH INFORMATION ON

the plane ot modulation. CHANNEL ONLY

ON RIGHT
ONLY

Let's feed an IK tone into a mono cutting system:

The tone is first received by the cutting amplifier
which delivers the power needed to cut the tone to
the cutterhead itself. The cutting stylus in the tip of
the cutterhead etches the tone as a side to side
continuous physical translation in the surface of the
acetate master disc. Think of the cutterhead as an STEREO GROOVE MONO GROOVE
LATERAL INFORMATION
electromagnet that responds to the current provided
WITH VERTICAL INFORMATION

by the cutting amp, much like the receiving element

of a conventional telephone.
When a disc recording of an IK tone is played
back, the playback stylu s will trace out the side to
side s wings in the groove. Inthe case of our I K tone,
the stylus must repeat this side to side s wing 1,000
times a second.
Since this IK tone was a sine wave, the stylus Westrex kept the 90° relationship of lateral to
stops at each of its amplitude peaks and reverses its ve rtical but rotated the axis 45° to the plane of cut.
direction. It then picks up speed until it reaches Thi s syste m made physical co mpatibility a reality. In
peak velocity (at the point it crosses the groove addition, rumble is generally more pronounced in
centerline). It slows itself down again as it ap­ the vertical plane. The 45/45 system rumble is
proaches the next amplitude peak in the sound identical in both channels and lower by about 3 DB
wave. This process will keep repeating itself until overall.
the end of the record. It is important to remember that it is varying
move up
90·
groove width which causes the stylus to
and down. Lateral stylus movement is c aused by the
wandering groove center. This is a f a ct of groove
life, even if one groove w all h a s a different number of
ripples or even if both channels are active at the
s ame instant.
If the two h alves of the stereo signal are mostly out
A B of phase, the playback stylus will be driven in a
Technique A Is the obvious way to cut two channels in a single vertical plane. If these same two halves are also of
groove. This method Is extremely difficult. equal volume, the groove will get thinner and
shallo wer, then deeper and wider. If one of the
Technique B is the Westrex System. Note that the lett and right
channels are s til i at a 90° a ngle to each other, b ut th at the plane of halves is louder th an the other, the groove mid-point
modulation has been rotated to 45° to the horizontal surface. will move to wards the side with the stronger signal.

—4—
Picture of stereo grooves with Information on Ie" channel only. Picture of stereo grooves with Information on right channel only.

CURRENT NO CURRENT
GENERATED CURRENT GENERATED

I l
J

A B

A playback stylus translates the stereo groove back Into two distinct signals. "A" shows right channel output; "B" shows left channel
output

—5—
An old Scully Lathe, with covers removed to show the drive system. Over600 were made. Many are stili In use. (Manufacturer's photo)

—6—
 The CuHing Lathe

"The Lathe" - current model ollhe L. J. Scully Company. A Westrex cuUerhead Is mounted In the carriage assembly. (Manufacturer's
photo)

The m ai n tool u se d in the mastering p roc ess is, of The carriage travels across the disc by riding on a
course, the cutting lathe i t se lf . While many different "Ieadscrew". The speed at which the carriage (in­
brands are used. the ir function is the same. even cluding the cutterhead and the cutting stylus) travels
whi le their form may not be. across the recording blank is shown as the "pitch" of
A turntable is one of the main components of a the lathe. Pitch is normally expressed in "lines per
c u t ting lathe. It is normally made of fo rg e d al u­ inch". A meter on the control portion of the lathe
minum. Depending on the brand. the surface may reads out the pitch in lines per inch. In common
be covered with cork. Basic to t h e turntable sys te m usage, the term LPI is used for lines per inch.
is a vacuum mechanism which h old s the blank From the very beginning of disc reco r d in g until
master disc firmly in place to prevent any s l i pp ag e of the late fifties, records were mastered at a "fixed"
the disc while the cutterhead cuts into it. Such pitch. For example, a twenty-minute al bum side was
slippage would show up as a speed variation in the cut at a continuous 225 LPI setting. This means that
finished record. the lathe carriage cut 225 grooves per inch of space
The actual cutting of the groove is performed by from the modulation start diameter ( a b ou t 11.75")
th e [Link] is mounted on the lathe "carriage". u ntil the minimum inside diameter (4.75").

—7—
 With the a d ven t of s ter eo records and more
demanding program mat e ria l, some manufacturers
devised a method of constantly changing a lathe's
recording pitch, depending on the program m ateri al .
In addition, units that would vary the depth of cut
automatically were also introduced. Thus, the vari­
able pitch-variable d ept h cutting lathe was born.
There are exactly 86.10469 square inches of
recording space on a 12" long-pl aying record. All
album sides, be th ey ten minutes orthirty minutes in
length, must fit into this area. N a turally, th e lo n g er
the running time, the finer "pitch" or more LPI we
must cut.
A varia b l e pitch and de pth system permits us to
make the economical use of our 86 inches by
constantly sampling the program material and ad­
justing the pitch and depth of cut accordingly.
The job of the va ri able pitch unit is to stop the
groove walls of adjacent grooves from banging into
each other (the term for this is "overcut") while at
the same time, keeping the pitch high enough to
avoid wasting any of our 86 inches.
The job of the variable depth unit is to keep the
groove w i d t h at at least one mil (the normal width of
a playback stylus is.7 mil, so one mil is considered
the m i n i m u m acceptable width) and also to keep the
groove width less than abou t 6 or 7 mils. With
g r oo v e s deeper than 7 mils, we run the risk of
jamming our cutting stylus into the disc's aluminum
substrate and ruining it or at the very least, c ause
problems in the record pressing process.
Although their functions are separate, the pitch
and depth units are inte rloc ked and work to g et h er A Neumann VMS70 Cutting Lathe, the most common lathe found
hand in glove. For instance, increased g r o ove depth today.

Close-up of the turntable of a Neumann Lathe, showing disc size selector and vacuum holes for disc hold-down.

—8—
The Wextrex 3011 AH Stereo Cutterhead. (Manufacturer's photo)

—9—
 The LPI Meter shows our cutti ng pitch. Here, 130 L.P.I.

The N e u m a nn SX-74 Stereo Cutterhead.

The lead screw of a Neumann Lathe. The carriage rides on this

Icrew on Itl journey across the disc. The "pitch" Is changed by Variable pitch at work, controlling groove spacing to avoid
Ipeedlng up or Ilowlng down the motor which turns It. overcut.

— 10 —
Variable depth at work, d eepen ing the groove as needed. As the
groove goes deeper, note that the pitch must be expanded to
accommodate the depth Increase. A severe overcut.

cuts down on the "land" (land is defined as the the variable pitch and depth units rece iving a sig nal
space between two g roov es ). The space used to and the arrival of t hat same sign a l at the cutterhead.
allow this g roove dee p e n in g
is g ained by cutting This lag ti m e will vary with the speed of the master
fewer lines per inch. Any increase in our LPI rea d ing tape and the speed at which the master disc is being
should be accompanied by a d ec rease in our depth cut.
of cut. Likewise, any increase in our depth of cut
should go hand in hand with fewer lines per inch. It is worth noting here that the s ign a l sent to the
Since it is necessary for our p itch and depth units pitch and depth units shoul d c orrespond in b o t h
to have a c cess to the re co rd e d information ahead of level and signal processing as the prog r a m channel.
its arrival at the cutti n g head, a s p eci al tape machine If the lathe operator were to c ompress or equalize
is u sed in the mastering process. This tape machine the program channel without making like c ha ng es
is equ i pped with two totally separate playback on the advance system, the pitch and de pth units
systems along with an elaborate tape threadin g path wi ll be receiving false in for m at io n which could
between these two systems. The first pl aybac k cause overshoot or un de rshoot in the i r actions. For
system is called the adva nce or p review channel.
" " " " this reason, most lacquer channels have two dupli­
The second is called the "program" chan n el. With cate sets of filters, equalizers, etc.
the help of an elongat e d tape path between the The different pi t ch and d e pth units in use tod a y
preview playback head and the program playback are o ften called "computers" of one sort or an other .

head, the operator can allow for a time lag between Some are very sophisticated. The pitch control is

— 11 —
 I"

Control Section of a Neumann Lathe, showing turntable speed

Indicator, lathe 'unction control and L.P.!. Meter.

MAGNETIC FIELDS

COILS� \}�;;�"�4J!f�!:'----
. '.' , .' ; .
/.:)�' CURRENT OF
. ...: ..../....
A disc mastering tape playback unit manufactured by MCI. Note LEFT
. ,
' :; ', ;..-,::;.
�__ ::

long delay path between program and preview heads. (Manu­ CHANNEL
facturer's photo)

Simplified view of a stereo culterhead.

mainly a function of the sum si g nal of the preview

c hanne l (left + ri gh t s i g n al = sum). The
signal
depth control is m a i n l y concerned with the differ­
ence signal (left signal - sight sig n al difference). =

In any case, the various systems are m a i n ly con­

cer ne d with freq uences below 1500 cycles. At the
same input level, a 1 25HZ tone occ u p i e s 2.25 times
the space that a I K tone would. At 30 HZ, the
increase is four times.
The cutting lathe has many other controls and
functions. Controls are locat ed on the front for s ty­
lus h eat adjustment, depth of cut, beginning and
closing d iam eters, turntable speed and the size of
The Studer A-SO Preview Tape Machine. the "spirals" or "bands" between cuts.

— 12 —
A Scully Lathe (same as on Page 6) but fitted with a new, highly sophisticated pitch and depth computer by the Capps Co. (Manufacturer's photo)

— 13 —
— 14 —
 The Mastering Console

Although it has only four inputs. the mastering (6) Echo Send and Return - Same function as
con s o l e can be very complex and contain many in recording consoles.
items not f o un d in live sound r e c o rd ing conso l es .
( 7) Low Frequency Crossover Requires a
N ormal functions included on most mastering
-

d et ail ed explanation and has its own se c

consol es are:
­

tion of this book.

(1) Mono/Stereo Switch This allows the
Outputs to Outboard Tape Recorders
-

engineer to cut a mono disc from a stere o

( 8)
For making tape copies simultaneously
tape.
with mastering. These copies contain all
(2) A Master Fader With this tool. the cutter
-
the limiting EO, echo. etc., as the ma ster.
can fade out a selection earlier. at times an These copies can then be shipped to for­
improvement if the original fade was too eign countries or to a tape duplicating facil­
long or too abrupt. ity. The record will then sound uniform
(3) Level Controls - These allow the e ng in ee r from country to country and from the record
to control t he volume going to the disc. to the cassette.

(4) A Phase Reversal Switch - This f l ops the (9) Oscillator - Used for putting tones on the
phase of the stereo signal 1800• U sed as a above tapes or for testing purposes with the
corrective measure when a tape is encoun­ cutting system.
tered that is also 1800 out of phase. (10) An Oscilloscope and/or a Phase Correla­
(5) A Monitor Select Section With this. the
- tion Meter Discussed elsewhere in this
-

cutting engineer can listen to the signal at book.

any stage of its route through the system.

P N H
L 0 I
A I G
Y S H
B E
A L
C R 0
K E W
0 C
T U P U A U 0
A C A N N N N
P T S I 0 I S MONITOR
E I S T T 0 AMP
0 S S L
M N E
A
CUTTING
ONE

C
H
AMPLIFIERS

I CUTTER

N HEAD
E
PITCH AND
ACETATE
DEPTH CONTROL
DISC
UNITS
(LATHE)

Simplified Flow Chart of a typical mastering chain.

— 15 —
— 16 —
 (11) Compressors and limiters - Same func­ lacquers identical in level and signal processing to
tion as in live recording. others he cut months or even years ago. When cut­
(12) Several sets of Equalizers Most modern ting each disc, the engineer keeps c opious notes
mastering consoles are arranged in an "A­ and meticulously records the settings of each equal­
-

S" fashion. The engineer can reroute the izer, echo unit, etc., with this idea in mind. Most
signal through different sets of level con­ studios have preprinted forms of some sort matched

trols and equalizers between selections. An to thei r equipment. Lathe settings are also recorded
as are the ending diameter and size of the bands
engineer can then "pre-set" the level and
EQ for the following selecti o n . He can then between selections.

switch from the "A" routing to the "S" r out ­

ing inaudibly during the spiral on the record.
The console can be made to do t his routing
on its own by means of a light cell on the
tape m a c h i ne which "sees" the leader tape
and sends a signal to the routing change
mechanism. This feature gives tremendous
artistic leeway to the cutter.
(13) Full Metering for Level- Every OS counts
in the mastering room. In addition to nor­
mal VU meters, one or several sets of peak
reading meters a re also used. While the
s t ud io control room line level is 0 DSM
(O.775V) the counterpart in the disc field is
1.55V (+6 OS over O-DSM). This level is
used to adjust the full scale deflection of
the peak reading meters. 0 VU corres­
ponds to -6 OS on the peak scale or 0 DSM
in disc cutting lingo.
One factor that is foremost in the set-up of a master­
Typical mastering setti ng sheet, allowing the engineer to repeat his
ing console is ease and exactness of repeating set­ later date.
settings at a
tings. Oftentimes an engineer is called on to cut

Both peak and VU metering are handy In disc culling.

— 17 —
The output 0' the Mastering Console Is fed Into the cutting amplifiers, which In turn drive the cullerhead.

— 18 —
 The Low Frequency Crossover

Sometimes called an elliptical equalizer, t h e low While disc cutters p re f er to k eep separation at its
frequency crossover is a universal to ol of all cutting absolute maximum, there will be times when th e re
studios. It is normally abbreviated as 'LFX" or "EE". will be sufficient o ut of ph ase material to mak e disc
Sho ul d th e re be prog r am material on t h e master transfer troublesome.
tape that is low in frequency an d also more t h a n 900 Basically, the low f re q ue n cy crossover works by
but less than 2700 phase d i ff e re n c e , the LFX will be allowing the stronger of t h e out of p hase compo­
use d to eli m i n ate excessive ve rti cal groove lifts. nents to cancel t h e port ion of the weaker likeness on
This lift complicates both the pressing and the pl a y ­ the o p po site channel. That c h annel will then double
back operations. ter minate or l eave half of its re m a i n ing power in
If the r e c o r ding level of these identical signals place of the original out of phase likeness.
were the same and t h ey were 1800 out of phase, the There are times when too much crossover will
groove would be entirely vertical (hill and dale) in degree
alter t h e ove rall sound to an objectionable
the no r mal 45/45 m eth o d of mastering. The LFX can of this device is a must.
.

Prudent use
be set to work at various frequencies to allow a Typical frequencies might include 30,70,250 and
t o le rab l e cut. 700 cyc les .

Out of phase material can make a cutterhead ""It out," thereby This photo Is the Identical section but cut with the aid of a low
breaking the groove. The 11ft out shown here Is unacceptable. frequency crossover.

— 19 —
 Oscilloscope

No m as t e r i n g s t u d io i s co m p l e t e w i thout an oscil­
losc o p e perm anent l y m o u n t ed i n its c u tt i n g s yst e m .
Si nce phasing i s s o i mportant i n producing a
g o o d l ac q uer master. t h i s osci l l os c o p e wi l l be s et up
to read a "Lissajo u" patte r n . Basical ly. a n X+Y s u per­
i m p os ing of b o t h the left and r i g h t s i g n a l s .
An experi e n ced cutt i n g e n g i neer c a n tel l s everal
thi n g s abo ut a tape with h i s o sc i l l os c o p e :
1. W h e t h e r the tape is stereo o r m o n o
2. T h e a m o u n t of stereo i nfo r m at i o n
A B
3. Deg ree of o u t of p h as e co mp o n e nt s
So m et i m es onl y o n e m i cro ph o n e or ch a n n e l w i l l
h a v e a p h ase probl e m . Wit h c a reful o b s e rvat i o n , t h e
c o m p o n e nt ca n b e i d e n t i f i e d .
Ano ther major us e of the o s ci llo s cope i s the
a l ign me n t of t h e p l a y b ack tape machi n e's az i m uth
w i th t h e tone of th e i n d i v i d u a l m as ter t a p e b e i ng
used.

c o

8 CD
LATERAL VERTICAL

E F

o LEFT RIGHT

G H

Common oscilloscope patterns. A. Left channel only; B. Right

c h a nnel only; C. Stereo, a combination of A and 8; D. Stereo as
C, but 1800 out of phase; E. Phase shift of 90·, seen when
aligning azimuth of playback tape machine; F. Rand om stereo,
such as might be seen on a multl-mlked recording. Some out of
phase material present; G. Stereo pro gra m which Is largely In
Oscilloscope patterns with matching groove types. phase; H. Stereo program which Is la r g e l y out of phase.

— 20 —
 Microscope

An i n d i s p en s i ble tool of the m aste r i ng en g in e e r i s

his lathe microscope. Most microscopes so used
have a m agnifi cat ion power of about 200. T he m icro­
scope h as its own light source b u i lt in, in order to
i ll umin ate the g ro oves on t h e dark disc surface.
Each groove appears as three bright li nes - t h e
bottom o f t h e groove and t n e t o p s of the t w o g roove
walls. The land between the grooves appears b l ack.
The groove walls t h e m sel v es refl ect vari o u s amou nts
o f l ight.
By m ean s of a reticle in the microscope, the size of
each gro o ve can be easily measured. Also, too
much treble or bass or excessive level a re ea sily
identified.
The cutting engi n e e r can a l so che c k the effec­
tiveness of stylus heat i n g and the overall co nd i ti on
of t h e stylus by examining the groove w a lls for
Each disc Is spot-checked th rough the mi croscope after cutti ng.
r o u gh tex t u re or o t h e r a n o m a [Link] s
.

Overcuts, 11ft-outs and proper groove depth can be seen through A second, smaller m ic roscope II uled to mount the cutting stylus
the microscope. In the cutterhead.

— 21 —
 The Lacquer Disc

It h as be e n sa i d more t h an o n ce t h at t h e l acq u e r i ng Worl d War II. Glass was substituted for d i sc

acetate d i s c is t h e h eart of t h e e n tire reco rd m anu­ centers t i l l the e n d of t h e War. Glass-coated discs
facturing i n d u s t ry. I ndeed, this is the case. This o n e cut very we l l , but were subject to bre a kage.
p roduct i s the f i rst step i n the m anu facture of a ny To d ay. t h ree co m pa n ies a re i n vo lved in d i sc
record a n yw h ere i n t h e world . manu fact u re: T ra n sco P roducts, Ca p i tal M agnet i cs
If one were to a s k a m asteri n g e ngi n ee r w h at o n e and Py ra l .
p rod u ct d oes h e wat c h the cl osest f o r fl aws, d efects Upo n receivin g t h e al u m i n u m centers fro m Al coa.
a n d perfo r m a n ce qua l i ty, h e woul d t e l l y o u the m a s­ the s u rface of eac h d isc i s treate d to remove any
ter l acqu e r d isc. d e b ris a n d also to a l l ow for better l a c q uer ad he s i o n .
The p hysical m a k e u p of suc h a d isc seems quite Mea n w h i l e , cell u lose nit rate is prepared for coat­
simple: a th i n coati ng of l acqu e r o n a flat al u m in u m ing. By itself. it d eco m poses rea d i ly.
substrate. p u nc h a hole in t he c e n te r, presto . Basically, there are fo u r i ng red i ents wh ic h hel p
Su c h i s not the case. Th e fo r mul at i on of the l ac­ the c e l l u l ose n itrate in its jo b:
qu e r. the mirror-smooth finis h of t h e al u m i num cen­ 1. Res i ns - These i m p rove a d h es ion to t h e
t er, p l u s t h e ent i re coatin g, dry i ng a n d p a c k i n g alumi n u m substrate. In addition, they g reatly
o perat ions ca l l for unco m p romis ing ski l l a n d qual ity affect the dry i ng process.
c o n tro l .
Befo re the advent o f t h e l ac q u e r d i s c, m asters
2. Pig m e n ts - Thes e aid in o p aqueness and
l i ght ref l e ct i v e prope rties, t h us aid ing vi s­
were c u t i nt o la r g e cakes of wax. Wh ile thi s wo rked
ual i n s pection of t h e finis hed d isc .
rat h e r wel l , it was c u mbers o m e a n d d o w n rig ht
awkward . The wax discs were breaka ble. subj ect to 3. Pl ast i c i ze rs - Add elasticity a n d ove ra l l
d a m age b y h e at and p recari ous to s h i p to the p ress­ softness.
i n g pla n t. 4. S o l v e n t s - Help ble n d eve ryt h i n g tog ether
A Fre nch com p any cal l e d Pyra l was t he fi rst to into a harmonious mixture.
coat n itrocel lul ose lacq u e r o nto a l u minum in the Aft er the discs are coated. th e d rying p ro cess be g­
1930·s. Bill Speed obtained a l i c ense for the Uni ted ins. T his is done in a contro l led atmosphere wit h
States and started a company ca l led Aud i o Devices. contro l over h um i d i ty, d u s t and p ressure. T h e m as­
In 1 937, acetate d i scs beca m e the no r m in record i n g ter lacquers are then vi sually i ns p ected. On l y on e
st u dios. Wax d i sa p peared rat h er q uickly o nce t h e s i de of eac h d is c i s given to be f l aw l ess. Then boxed.
a dva ntages o f a c etates caug ht o n . t h ey a re on t h e i r way to t h e c u tti ng studi o.
Al u minu m w a s i n creasi n g ly d i fficult t o o btai n d ur-

The waite acetate that II cut out 0' the groove II called "chip". By meanl 0' a vacuu m Iyltem. It II lucked Into a receptable for dllpolal.

— 22 —
 The Cuffing Stylus

Anoth e r inva l u a b l e partner i n the di sc c u tti n g t h e just c u t g roove. If these facets are too wide, the
process i s the actual c utti n g stylus. Today, most life of t h e styl u s will i m p rove but h igh frequency
s ty li are mad e fro m a synthet i c sapphire co m po u n d . response will be poor. since the stylus will c u t, the n
made fro m a n a l u min u m o x i d e crystal . Si n ce the immediately w i pe away high frequency modulation.
center of the record i n g b l a n k is al so made of alumi­ Co n ve rse ly, fa cets t h at a re too sma l l will ca u se just
nu m . t h e stylus has a certain affi nity to other al umi ­ t h e o p posite to happen. Normally. the w idth of the
num . Should t h e groove ever go deep eno ugh to th e burnishing fa cet s range from .00015 to .0002 i nches.
p o int which it hits the al u m i n u m substrate of t h e Styli a re s u pplied to the c utt i ng st u di o with ni­
di sc , s o m e aluminum wi l l ad h e re to the st yl u s It i s
. chrome w i re wou n d a ro u n d the shank a n d h e l d in
a l most impossi ble to re m ove t h i s adhes i o n f ro m the p l ace by ce ra mic cement. These wires ca r ry h eate r
s t y l i A stylus is never touched with bare fi n g ers but
. c u r re n t to the styl u s. The exact a m o unt of h eat is
i s handle d by m eans of the heati ng w i res. Als o, a dju ste d by means of a rhe ostat o n the l at h e . T h e
n on-mag netic tweezers are used . a m o u nt of cu r rent is vis i bl e o n a meter. also l oc ated
A fin i shed m a ster disc has a dynamic ra n g e a b o u t on the lat he. Durin g very critical wo rk. the a m o u n t of
1 5 t o 2008 better tha n t h e p ressed record m a d e heat is some t i m e s increase d towards the cente r of
from it . Indeed , a m aste r d i sc m a y t a x the threshol d the d i sc, d ue to slower groove speed.
of all but the f i n est p reamp s . Th e reas o n for t h is is T h e h eat setti n g is c h ecked with each new stylus
twofo l d - stylus heat a n d stylus burnishing action. or new batch of acetates. Heat is set to the a m o unt
The sty l u s is made bl u n t o n each edg e to form th at will produce t h e lowest hiss in a q u i et gro o ve.
what are called b u r n i shi n g facets. Th ese facets are Thi s is no r m a lly d one at the in n er a nd outer d i a m e­
fl a red o u t a few d e g rees from th e direction of t ra v el te r, with a n ave rage sett i n g the result.
so t h at they h ave a w i pi n g or burn i s h i ng actio n o n

The cuHlng .tylu. mounted In the cuHerhead. Note chip removal tube at left and the two heating wire •.

— 23 —
 By m e a n s of ttle l at h e m i cro s c o pe, h e a t can al so t o u g h c r u st w h i c h is d iff i c u lt to re move .
be c h ecked by eye . Too m u c h h eat p ro d uce s s c o r­ As th i s c o n t i n u e s t h i s c rust w i l l cre e p l o w e r a n d
,

i n g l i nes o n the g roove w a l l . Too l ittl e h eat c a u ses l ower. E v e n t u a l l y , i t g e t s i n t h e w a y of t h e exit i n g

the g ro ov e wal l to bec o m e g ray a n d g ra i n y i n ch i p a n d c a u ses a k i nd o f b a c k pressu re a t t h e e d g e
a ppeara nce. o f t h e st y l u s . T h e noise l evel w i l l r i s e t o i n to l era b le
T h e b enefits of sty l u s heat are : leve l s a n d the sty l u s m u st be replaced.
1. A red uced n o i se leve l Sty l i are re p l aced for a va riety o f reas o n s :

2. Prol o n g e d styl u s l i fe 1. Wh e n t h e c u t is n o lo nger s h i n y an d s m ooth

3. I m p ro v e d h i g h freq u en cy res p o n s e 2. When it becomes c h i p p e d
A c u tti n g s t y l us d o es a n e n o r m o u s a m o u n t of 3. W h e n the n o i s e l evel i s too g reat
work, etc h i n g a g roove u p to a h a l f- m i le i n l e n g t h on 4. When h i g h f req u e ncy res p o n se fa l l s off
one side o n a n LP. A l t h o u g h the rec o rd i n g l a c q u e r is 5. W h e n t h e ti p rad i u s exceeds .25 m i l s or t h e
re l ati vel y soft a n d t h e sty l u s f a c e h i g h l y p o l i s h ed , bott o m l i n e exceeds . 5 m i l s
t h er e i s s o m e a b ra s i v e act i o n w h i c h ca uses wea r o n
G e nera l ly , wear w i l l s how u p o n t h e edges after ten
t h e styl u s . Th e rate of w e a r w i l l v a r y d e pe n d i n g on
h o u rs of cutti n g a n d t he t i p ra d i u s w i l l be too l a rge
t h e a b rasive ness on t h e r e c o r d i n g b l a n k a n d t h e
a m o u nt of d i s c ret e h a r d part i c l e s i n t h e l a c q u e r
after about twenty h o u rs.
A lt h o u g h so m e w o rk has been d o n e w i t h m aki n g
i tself.
styl i out of d i a m o nd, syn thet i c ru by and sapph i re
As t h e c h i p i s f o r c e d o u t of t h e g r o ove and s l i d es
r e m a i n t h e j e we l s of c h o i c e , d u e to t h e i r ease i n
u p t h e face of t h e sty l u s , p a rticles of t h e c h i p a n d the
form i n g a n d absol u te co ntro l o f t h e g ra i n . Th e l atter
l ac q u e r s o l v e n t a d h e re to the face . Si nce t h e t i p is
i s m ost v i t a l in ass u ring g oo d c h i p re m oval .
h eate d t h i s d e b ris te n ds to bake o n a n d f o r m a
,

BACK
A N G LE

SHANK

C U TTI N G
FACE ---1--- 1

---- SAPP H I R E O R R U B Y

R E C O R D TRAVEL

E n larged view of s ty l u s tip.

— 24 —
 Com mon Di sc Mastering Form u l as

N o w , as i n t h e beg i n n i n g , d isc m asteri n g is p u re T h e re f o r e , we ca n c u t 2 7 m i n utes of m aterial i f we

a n d u n a d u l t e rated phys i c s . As s u c h , m u c h mat he­ a d j us t t h e l athe p itc h to 300 L P I ( l i n es per inch).
m a t i c a l m ate r i a l is avai l a b l e to t h e c utti n g e n g i n ee r A n ot h e r way to fi g u re t h i s i s :
t o h e l p h i m s e t h i s w o rk i n g p a ra m e t e r s . A f e w are
g i ve n h e re.
T h e r u n n i n g ti me of t h e m aster t a p e d eterm i n es R u n n i n g T i m e X D i s c S peed
P it c h =
t he p i t c h of t h e c u tt i n g lat he. I t fo l l ows, then, that t h e Radius
l o n g e r t h e ru n n i n g t i m e of t h e t a p e , t h e m o re l i n es
pe r i n c h m u st be c u t to acco m m odate the mate r i a l . Let's t ry t h i s for an a l b u m s i d e r u n n i n g 1 6:45 .
S h o rter s i d es , t h e n , c a n b e c u t with fewer l i n e s pe r Before u s i n g a n y fo r m u l a , a l l e x c e s s seco n d s ove r a
i n ch . w h ol e m i n u te m u st be c o n verted to i t s deci mal
One com m o n f o r m u l a f o r t h i s is: eq u ival ent.

R ad i us X L i n es Per I n ch
R U N NI N G T I M E
DISC SPEED 1 6. 75 X 3 3 . 3
=

P it c h =

3 i n c h es
I n t h i s case t h e rad i u s i s t h e d i st a n ce fro m t h e
m od u l at i o n sta rt to m o d u lati on e n d . F o r an a l b u m , So,
t h i s i s t h ree i n c h es . Let's s e e w h at r u n n i n g t i m e w e 557 . 775
can g et w h i l e c u tt i n g 300 l i nes per i n c h : P it c h =

The n ,
3 X 300 900
= = 27 . 027
33.3 33.3 P itc h = 1 85. 925 L i n e s Per I nc h

6.0

5.0 �
en

\
...I

:E
z 4.0

::I:
....
C
==
3.0 ' ",
W
> 2.0
"-�
o -
o
a::
CJ 1 .0

o
1 00 200 300 400 500

LI N ES PER I N C H = P

Groove w i d t h vers u s lines per Inch. Average groove w i d t h = _

1-
000

P �_
2
+ 1

— 25 —
T h e l i n e s p ac i n g i s T h e sty l u s ve l oc it y i s d i rect l y p roportio n a l to t h e
si g na l a p p l i e d to it. The d i s p l acem e n t of
el ect r i c a l

___ 1 o r . 0053785 I n c h es P er L i ne.

t h e g r o ove, h ow e v e r , is i nversely pro p o rti o n al to the
f req u e n c y of the s i g n a l . As we dec rease t h i s fre­
1 85 .925
q u e ncy, this d i s p lace m ent i n c reases. ( Re m e m ber,
A n ot h er co m m o n form u l a i s u sed to fi g u re t h e heavy bass takes u p a l ot of s pace on the record . )
T h e f o r m u l a for fig u ri n g t h is d isplace m e nt i s :
a p p ropr i ateg roove width f o r a g iven L P I sett i n g :

A m p l it u de O f _ P e a k Stylus Vel ocity

1 000 D i s p l ace m e n t A n g u la r F req u e n cy
--
1
-
+
LPI
G roove w i dth A n g u l a r F req u e ncy i s 2 " X t he F req u e n cy
2
=

Let's s o l v e t h is eq u at i on for a 1 K t o n e c u t at 7
Let's solve t h i s f o r m u l a fo r a 250 L P I setting
c e n t i m et e r s per se co n d. ( Re m e m ber, t h at 1 K at
7 C M S is zero l evel i n t h e d i sc worl d . )
1 000
-- + 1
250 7C M S
G roove w idth = A m pl i tu d e of _

2 D i s p l ace m e nt - 6. 28 ( 1 000)

So, = . 00 1 1 CM = . 439 M i ls Pea k D i s p l ac e m ent

4 + 1
=
G roove w i d t h
2 It is o n ly n e cessary to d o u b l e this a m o u n t to g ive
u s our p e a k to peak d i s p l ac e m e nt. In t h i s cas e - .878
The n , M i l s.
G ro ove w i d t h = � or 2.5 mils T h i s f o rm u l a i s oft e n used in c o nj u nct i o n wit h
2 B u ch m an - M eyer l i g ht patte r n obs e rvat i o n s .

— 26 —
 Ha lf Speed Masteri ng

H alf s peed m a s t e r i n g see ms t o b e a re l at i ve l y tion over 1 0 K i s r a re.

simple o p e r a t i o n : Set t h e l a t h e t u r n t a b l e t o r u n at M a x i m u m g r o o ve v e l o c i t i e s a re l o w e red b y t w o
half t h e d e s i re d s p e e d ( e i t h e r 1 6-2/3 o r 2 2- 1 / 2 ) a n d als o . T h e a m o u n t o f p o w e r u s e d t o d r i v e a c u tt e r ­
t he n p l a y the m a s t e r t a pe a t half i t s rec o r ded s p e e d . head is d irec t f y p r o p o rt i o n al to t h e st y l u s ve l o c i t y a t
T h ere's a b i t m ore t o i t , a s w e s h a l l s ee . a g i ve n l e vel. T h i s means t h at t h e c u tti n g a m p l i f i e r s
T h e r e was a t i m e ( the l a t e 50's a n d e a r l y t o m i d - w i l l w o r k at a m u c h l o w e r p o w e r l e v e l , an a d v a n t a g e
60's ) whe n h a l f s p e e d cutt ing h a d a g re a t m a n y i n te r m s of c o i l t e m p e rat u re a n d t h e a bi l it y t o b y pass
m o re p ractit i o n ers tha n i t do e s t o d a y . At t h a t time , it a n y s o rt of h i g h f r e q u e n c y l i m i t i n g d e vic e .
was a t o o l of n e c es s i t y . S te r e o m asterin g w a s i n i t s The physical s e t u p fo r h a l f speed m a s t e r i n g i s
i n fa n c y , a n d i t w a s o ft e n ex t re m ely d i ffi c u l t f o r o n ly s l i g h t l y diffe re n t t h an t h at re q u i re d fo r real t i m e
en g i nee rs to c u t s u s t a i n e d hi g h f re q u e n c y passag e s c u t ti n g . O n e n o t i cea ble d i ffe re n c e i s the n e e d for
( su c h a s c y m bal c rashe s ) . To a t t em p t t o c u t s u c h h a lf s p e e d D B X a n d d o l b y u n i t s , caus ed by the f a c t
s e ct i o n s o r p e a k s oft e n m e ant r i s k i n g p hysi c a l t h a t b oth d e v ice s a re f req uen cy sele ctive .
da m ag e to t h e c u tterhead o r u n sat i sf a c t o ry g r o o v e O n e o t h e r n o t a b l e fact o r i s t h e i n c re a s e o f t i m e
g e o m e t ries . n e e d e d t o m a s t e r d i s c s a t half s pee d . A n a l b u m sid e
Si n c e thes peed of bot h t h e t a p e m a c h i n e a n d t h e that r u n s 20 m i n u tes i n r e a l tim e will, o f c o u r s e , t a k e
c u t t in g l a the a re ha l v e d ,
t h e freq u e n ces t h u s p ro ­ 4 0 m i n u tes to m a ste r . A d dit i onall y , s e v e ra l r e f er­
c e s sed a re a l so c u t in h a lf; t h e refo r e , 1 0 K H Z b e ­ ence l a c q u e rs m a y have to be cut and t h e n a u di­
comes 5 K H Z , 2 K H Z b e c o m e s 1 K H Z a n d s o o n . I n t i o n e d si n c e m u sic at half s p e e d bears no re l at i o n to
real t i m e c u t t ing , the cutt ing s ystem ha n d l e s mat e ­ m u sic at f u l l s p e e d , t h us e l i m i nat i n g a n y kin d o f
ria l a b ove 1 0 K c o n t i n u o u s l y . A t ha lf speed , i n f o r m a - s u bjective monit o r i n g sit u a t i on .

T h e JVC C H-90 cutlerhead, originally developed f o r h a l f speed mastering.

— 27 —
 The Buch ma n-Meyer Calibration Check

I n t h e early d a y s of d i sc c u tti n g , c u tt i n g h eads " G roove vel ocity" i s t h e s peed of th e med i u m rel a-
were n o t a l ways l i near i n th e i r freq u e n cy respo n s e . tive to t h e styl u s p o i n t . Mat h e m ati cal l y , it is stated :
I n 1 930, G e rh ard B u c h m a n a n d Erwi n M e y e r were V = 2 1TR N
t h e fi rst to d o c u m e n t a sat i sfact o r y m et h od of V = G roove Ve l o c i ty
c h e c k i n g t h i s res ponse.
R = R a d i a l D i st a n ce from t h e Ce n ter of t h e Disc
I t h a d l o n g b e e n k n ow n t h at t h e l i g h t refl e cted
to t h e C h ose n Po i nt
fro m a c u t d i s c h a d some relat i o n to t h e cut i n forma­
t i o n . Th e B u c h m an- Meyer t ec h n i q u e used this fact N = Turnta b l e Rotat i o n a l S peed
i n f i n d i n g o u t h ow to c h e c k the res ponse of a Of c o u rse, g roove veloc i t y is at its h i g hest at the
syste m . . o u te r m ost d i a meter of th e d i s c a n d at its l o west at
F i rst, a s e r i es of ton es are c u t o n d i sc, mak i n g s u re t h e i n n e r d i ameter. T h e wave l e n g t h is .d ec reased
eac h o n e l asts at l eas t ten tu rnta b l e rev o l u t ion s . fro m o u t s i d e to i n si d e .
W h e n a l i g h t i s m o u nted a t a 450 a n g l e from t h e The B u c h m a n - Meye r tec h n i q u e i s of l i t t l e use
t u rnta b l e , t h e l i g ht t h at i s ref l ected fro m eac h b a n d below 1 , 000 c y cl e s s i n ce the lower freq u e n c i es a re
w i l l f o r m a patte r n , idea l l y fo rm i n g a " c h ristmas u s u a l l y rec o rd e d at c o n sta n t a m p l itu d e rat h e r t h an
t ree" pattern . c o n st a n t ve l ocity . I n w h i c h case, t h e width of t h e
Re m e m be r t h at t h es e va r i o u s tones are etched l i g h t patte r n d ec reases i n pro p o rt i o n to t h e fre­
i n t o the disc b y t h e c utte r h e a d . T h e l evel of t h ese q u en cy d e c rease.
t o n es is k n ow n as th e "styl u s ve l o city" . Styl u s vel oc ­ T h e B u c h m a n -Meyer tec h n i q u e was the i n d ustry
i t y i s t h e exc u rs i o n of t h e c u tti n g sty l u s w h e n a ru l e of t h u m b u n t i l t h e a d ve n t of d y na m i c feed bac k
s i n e-wave s i g n al is a p p l i e d . c utte rhead . These heads p roved to b e ext re m e l y
sta b l e a n d res ponse l i near.

LIGHT
SOURCE

0
I TU R NTAB L E
I
LAT H E

Co rrect phys ical p rocedure for observing light palterns.

— 28 —
 Recorded Level on a Record

O n e of t h e m ost i m portant j u d g m ents m ade by the co m e o u t at 6 D B a b o v e record l evel zero . The c u t­

c utti n g e n g i n ee r is the a m o u nt of " l eve l " o r v o l u m e a t i n g e n g i neer wi l l a dj u s t t h e v o l u m e, e i t h e r u p or
g ive n record w i l l h ave . d ow n , in h i s t ra n sfer p roced u re.
M ost c utters wil l state t h at t h e m ost co m m on The most c o m m o n p r o b l e m c a u sed by excess i v e
req u est given t h e m by p rod u ce rs is fo r more vo l u m e l evel i s m i st rac k i n g of o n e s ort o r a n ot h e r T h e .

a n d m o re b as s . S o m et i mes m ore of o n e p rec l u d es record c o m pany w a n t s i t s p rod u ct to pl ay o n tu rn­

m o re of t h e ot her. tabl es , both good and bad , old a n d n ew.
After we i g h i n g fa ct o rs like total ru n n i n g t i m e, tre­ I n t h e ot h e r d i re c t i o n excess i v e l y l ow l evels al l o w
,

ble, bass, type of m u s i c, a m o u nt a n d i n t e n s ity of f o r a rise i n p ress i n g n o i s e i n re l at i o n to th e recorded

v e rt i ca l i n f o r m ati o n , a n d t h e p r od u ce r s a n d/or t h e
' m ate r i al.

a rt i st's tastes, a f i n al d e c i s i o n o n the vo l u m e of t h e Excessive h i g h e n d o p e n s up a real P an d ora's box

record wi l l be m a d e . of p r o b l e m s Due m a i n l y to the R I AA p re-e m p h as i s
.

T h e a ccepted refere n ce level is 7 e M/per se c o n d c u rve, h i g h v o l u m e an d/o r s u sta i n ed tre b l e i nforma ­

l atera l at 1 , 000 c yc l es U s u a l l y a l b u m s are c u t 2 o r 3

. t i o n c a n d a m a g e a cutte r h ead o r over l o a d t h e c ut­
D B a bo v e t h i s l evel . 45's are n o rm a l l y set at 4 o r 5 D B t i n g a m p l i f i e r itself. T h is s a m e t reble i n fo r m at i o n
a bove. T h es e a r e o n l y b a l l park fi g u r es o f c o u rse.
, c a n resu l t i n g roove m o d u l ati o n s t o o ra p i d o r too
The vo l u m e o f each record i s d et e r m ined by s o m e o r co m p l ex to be t rac e d by even the f i n est p l a y b a c k
a l l of the facto rs m e n ti o n e d i n t h e prev i o u s para­ cart r i d g e. A typi c a l ex a m p l e w o u l d be "s i b i l an c e" o r
g ra p h . excessive "S" s o u n d i n vocals.
M a n y reco rd i n g e n g i n eers c o n f u s e z e r o l evel o n So m e r e c o rd i n g a rtists ( m ai n l y fe m ale) who are
tape w i t h ze ro l eve l o n d i s c T h ey are t h e fru it of
. i n c l i n ed to ex h i b i t t h i s p r o b l e m h ave t h e i r records
d ifferent m et h o d s of i nfo r m at i o n storage a n d bea r " d e-essed" e l ectro n i ca l l y or cut at a l ower l eve l to
n o r e l at i o n to ea ch ot h er. J u st b e cause a tape is c o m p e n sate.
rec o rded at 6 D B a bove tape l evel zero d oesn't Sawtoot h waves o r m uted tru m pets cause m u c h
a u to m at i c a l l y m ean t h e c o r res p o n d i n g record w i l l o f t h e sa m e pro b le ms.

ExcessIve cutting level can lead to overcuttlng. Accepta ble h I g h l evel cut.

— 29 —
 Dia meter Losses

As t h e c u tt i n g s t y l u s m oves towards t h e center of

t h e l a cq u e r, the a m o u nt o f acetate pass i n g u n der it
d ec l i n e s d ra m at i ca l l y . The term for t h is is p e ri p hera l
g roove speed.
At a s p eed of 33- 1 /3 ( 1 . 8 s ec o n d s per revo l u t i o n )
t h e l e n gt h of t h e g roove p a s s i n g u n d e r t h e styl u s i s
i n d i rect re l at i o n to t h e rad i u s of t h e d i sc a t t h at t i m e .
T h e beg i n n i n g g roove o n a sta n d a rd LP s id e i s
j u st u n d e r 36 i n c h es . We c a n c o m p u te o u r g roove
s peed at 20 i n c h es a s ec o n d by re m e m be r i n g o u r
t u rnta b l e revol u t i on s peed o f 1 . 8 seco n ds .
At t h e m i n i m u m c l o s i n g d i a mete r, o u r g roove
s p e e d i s a m ere 8 . 3 i n ch e s p e r seco n d . T h e reco rded
m atter is put on t h e d i s c 2 . 409 ti m e s as d e n se, not a n
i d eal sit u at i o n . T h e res u l t - d i a m et e r l osses .
T h ese l osses m a n ifest t h e m s e l ves i n t h ree d i st i n ct
forms:
1. C u tt i n g l o sses
2. Trac i n g l osses
3. Defo r m at i o n l o sses
C u tti n g l o sses c o m e a b o u t d u e t o t h e w i dth of t h e
b u r n i s h i n g facets of t h e c u tti n g sty l us . With t h e
c o m b i n at i o n of h i g h f req u e n c i es a n d seve re ly re­
d u ced g roove s p ee d at t h e i n n e r d i a met er, s o m e
s e l f-eras u re occ u rs. T h i s l oss c a n not be m easu red
e x c e pt by l i g h t pattern o bs ervat i o n .
T rac i n g l o sses a r e a f u n ct i o n of t h e p l ay b a c k p ro­
cess - fa i l u re of t h e p l ay b a c k sty l u s to a c c u rate l y
"t race" e a c h a n d every g roove u n d u lat i o n . S t y l i w i l l
often t a k e s h o rt c uts a n d m i ss m i n ute secti o n s.
D efo r m a t i o n l osses acco u n t fo r m o re pro bl e m s
t h a n t h e p rev i o u s t w o t y p e s co m bi n e d . B o t h l ac q u e r
"
a n d v i n y l a ct u a l l y " g i v e u n d e r t h e stres s of t h e
p l a y b a c k m ec h a n is m . W o r n p l ay b a c k sty l i , h eavy
t rac k i n g w e i g ht, a n d poor v i n y l c o m p o u n d t h e
p ro b l e m .
T h e p r o bl e m of d i a m ete r l osses h a s bee n o b­
served s i n ce t h e a d vent of t h e d i s c m ed i u m . F r o m
t i m e t o t i m e so m e c o m pa n i es have e m p l oyed a co r­
rect i o n n et w o r k w h i c h a u t o m at i c a l l y a d d e d " c orrec­
t i ve" eq u al izat i o n as the d i sc ra d i u s d e c r e a s e d . T h e
u s e o f t h es e d ev i ces w a s g ra d u a l l y a ba n d o ne d , d u e Slower d l . c .peed ca n [Link] In v e ry c o m plex groove. toward.
to l ac k of a n y m eas u ra b l e s u c c ess. the Inner d iamete r.

— 30 —
 Practica l Considerati ons

M as t e r i n g i s a u n i q u e f u n ct i o n i n t h e r e co r d i n g 6. F o r m at U niformity. I t' s a l s o ni ce t o g et a
a n d ma n u f a ct u ri n g p rocess. tape i n w h i c h :
W h i l e it is a c t u a l l y t h e f i rst m a n uf a ct u r i n g s t e p , i t a. A l l t h e c u ts a re t h e s a m e s peed . I t' s
i s a l s o t h e l ast c reative p roces s , bri d g i n g t h e g a p a l m ost i m po s s i b l e t o c h a n g e fro m 3 0 t o
b et w e e n t h e two. 1 5 I PS b et w e e n s e l e ct i o n s .
It h a p p e n s m o re t h a n s e l d o m w h e r e t he s o n i c
b . N o i s e red u ct i o n i s u n i fo r m - c h a n g i n g
q u a l i t i es of t h e d i s c a r e l e s s t h a n t h e p r o d u c e r , art i st
f ro m O S X t o d o l by i s s i m i l a rl y d i ff i c u lt .
o r m i x i n g e n g i n e e r h a d h o ped fo r.
S e v e r a l t h i n g s c a n h i n d e r t h e m as te ri n g p ro c e s s c. T h e s o n g s a r e i n t h e c o r rect o r d e r o n t h e
f ro m a c h i e v i n g its f u l l p o te n t i a l . A l i t t l e c a re i n t a p e c o r rect r e e l - res e q u e n c i n g t a k e s t i m e .
p re p a rati o n a n d a l i t t l e e x t r a t i m e i n d o c u m e n t i n g d . T h e m a s t e r n u m b e r s t o be s c r i b e d a re
t h e ta pe b o x c a n he l p i m m e n s e l y . f u r n i s h e d a l o n g w i t h s h i p p i n g i n stru c­
Let' s d i sc u ss a few o f t h ese p r o b l e m a re a s : t i o n s for t h e m aste r d i s c s .
1. T o ne s . H a v i n g n o s et o f m a s t e r t o n e s w i t h
y o u r t a p e i s p u r e t reas o n . S t a n d a r d a l i g n ­
m e n t to n e t a p e s w i l l b e u s e d i n t h e i r stea d .
T h e i r l e v e l a n d a z i m u t h m ay o r m ay n ot
b e a r a n y r e l a t io n to y o u rs . T o n es s h o u l d b e
rec orde d o n b o t h c h a n n e l s a t o n c e . T h ey
s h o u l d a l s o l ast a b o u t 3 0 s e c o n d s eac h .
T h e f ir s t to n e s h o u l d s e t t h e o pe rat i n g l ev e l
a n d c h a n n e l b a l a n c e ( u s u a l l y I K ) . T h e s e c­
o n d i s n o r m a l l y f o r az i m u t h ( 5 to 1 0 K ) . T h e
t h i rd f o r h i g h e n d E G ( 1 2 t o 1 5 K ) . T h e l ast
o n e is f o r l o w a n d E Q adj u s t m e n t ( 5 0- 1 0 0
HZ) .

2. N oise R e d u ct i o n . M a r k t h e b o x w i t h t h e
b r a n d n a m e . I f y o u u s e d o l by o n y o u r m i x ,
y o u m u st i n c l u d e a d o l by t o n e at t h e t a i l o f
your a l i g n m e n t tones. For O S X, i n c l u d e an
e n c o d e d I K t o n e i n i t s p l a ce .
3. B a ndi n g T i mes. W h i l e l e a d e r t a p e is n i c e
to h a v e between s e l ect i o n s , it i s n o t n e c es ­
s a r y , a n d , at t i m es, u n d es i ra b l e . E x a ct t i m e s
of e a c h s e l e c t i o n a r e a n ec e s s i t y a n d a
c u m u l a t i v e t i m e l o g i s i d ea l . S u c h a l o g
m i g h t read : b a n d a t 3 : 20, 6: 4 1 , 8 : 1 1 , 1 2: 3 8 ,
1 5 : 59. I t' s a l so n i c e t o g i ve t h e c u tt i n g
e n g i n e e r a w a r n i n g a bo u t a b r u p t e n d i n g s
or b u tts p l i c ed seq u e s .
4. S eq u e n ce o f T u n es. T h e r u n n i n g o r d e r of
s e l e ct i o n s c a n a f fe c t t h e o v e r a l l so n i c q u a l ­
i t y . A n u p beat h i g h e n e r g y c u t w i t h p r o ­
n o u n ced top end can c reate a p r o b l e m o n
t h e i n n e r d i a m et e r . ( S e e C h a pt e r o n O i­
a m et e r L o sses) . A n i c e b a l l a d o r l e s s i nte n s e
c u t i s o ft e n a bet t e r c h o i c e .
5. U n docu mented F l a ws. A n y o b v i o u s f l a w s
o n t h e t a pe ( d i s tort i o n , o d d c h a n n e l b a l a n c e ,
et c . ) s h o u l d be n ot e d o n t h e t a p e box .

A s u d d e n flash p e a k c a n b e a rea l d i s aster. N o ting s u c h peaks on

the tape l e g e n d ca n be a rea l help to the engineer.

— 31 —
 How Records Are Pressed

U po n a r r i v a l a t its fi n al dest i n at i o n , t h e m a n u­ sp rayed o n c e m o re. T h i s t i me a si lver n it rate s o l u t i o n

fact u ri n g faci l it y or p r ess i n g p l a n t , " o u r m aster
" i s u sed t o coat t h e d i s c . T h i s s i l v e r coat i n g w i l l h e l p
lacq u e r f i n d s itself s u bj ect to t h e s o m e w h at cruel i n t h e n ext pro c�ss to al l ow n i c k e l to accu m u l ate o n
d e m ands of m ass p r o d u ct i o n . the d isc.
T h e fi rst step is careful u n pac k i n g a n d a t h o rou g h T h e s i lvered l a cq u e r i s attac h ed to a r o d a n d
v i s u a l i ns p e ct i o n o f e a c h d is c . O ccas i o n a l l y o i l s i n i m m e rsed i n a n i c k e l s u l 1 a m ate s o l u t i o n . A D C
t h e a cet ate coat i n g w i l l " b l eed" o r s h i p ment d a m ag e c u rre nt of l o w 10 rce i s r u n t h r ou g h t h e so l u t i o n .
w i l l o c c u r, u s u a l ly f ro m ex p o s u re to h i g h te m p er­ N i c k e l c o m es out 01 s o l u t i o n to form o n t h e d i s c.
at u re. At t h i s p o i n t, t h e d i sc w i l l be rej ected a n d the The t h ic k n ess of t h i s c o at i n g is d ete r m i n ed by t h e
m asteri n g stu d i o n otified to recut t h e probl e m s i d es. a m ou nt of t i m e t h e lacquer is left i n t h e so l u t i o n . 1 1
Seco n d l y, t h e acetate is t h o ro u g h l y c l ea n sed w i t h t h i s p ro c ess i s t o o rap i d , st resses w iU o c c u r i n t h e
a m i l d d ete rg ent a n d d i st i l l ed w ater to re m ove a n y n i c kel crystals closest t o t h e su rface, th us defo r m i n g
d i rt or d u st. N ext, it i s i m m erse d i n a s o l u t i o n 01 t h e s o ft l acquer a n d caus i n g "groove ech o".
stan n o u s c h l o ri d e ( t i n ) . S i n c e w e a re g o i n g to be T h e d i s c i s t h e n taken o u t of so l u t i o n and t h e
m a k i n g sev e ra l m e ta l parts or " m ol ds" fro m w h i c h lacq u e r is s e p arated from its met a l coati n g . G reat
p l ast i c re cords w i l l b e p ressed , we w i l l be dea l i n g care m u st be taken so t h at no s i l v e r is l eft beh i n d o n
entirely w it h m et a l fro m t h i s po i nt o n . T h i s l ay e r of t h e l a cq u er. Th e se pa rated n i c kel bu i l d- u p i s ca l l ed
t i n w i l l h el p to att ract a l ay e r of s i lver in the n ext the " m et a l m as t e r The m etal m aster is a n eg at i ve
".

p rocess. c o py o f th e o r i g i n a l l acq u e r. T h e g ro oves o n t h e

The d is c w i t h its u l t ra-t h i n coat i n g of tin is n o w m aste r d isc beco m e ra i sed ridges on t h e m etal
l o c ked i n posit i o n a t o p a c i rc u l at i n g d ru m a n d m aster. The s u rface of the m et a l m aster is n o w

O nce c oate d with nIckel a t the proper thlckne. ., the acetate Is

SliverI n g the master lacquer. rem oved from solution.

— 32 —
c h e m i ca l l y t reated so t h at a seco n d n ic kel p l at i n g
can b e b u i lt u p o n i t s s u rface and eas i l y sepa rated.
T h e m et a l m a st e r i s n o w rei m m ersed i n t h e n i ck e l
bath u nt i l t h e s e c o n d coati n g i s of t h e d e s i red
t h i c k n ess. The tw o p l ates are now pa rted and o u r
m eta l m aster h as n o w g i v e n b i rt h t o a " met al
m ot her". The meta l m other is a positive c o p y of o u r
o ri g i n al m aster l a cq u e r . The o r i g i n a l g rooves o f t h e
m aste r a r e n o w g ro oves agai n o n t h e m ot h er.
S i n ce t h e m ot h e r has g rooves, it c a n be p l a yed on
a t u rnta b l e . The s w i s h es , g ritti n ess, pops and ticks
o fte n h eard o n f i n ished p ressi n g s are the res u lt of
some f l a w i n the s p rayi n g , sepa ratio n o r the mater i a l s
u s e d i n the p r o c e s s u p to t h i s p o i nt.
A l ess t h a n s at i s fa c t o r y m etal mother can oft e n be
repai red . I f the separat i o n of the m aster and mothe r
was i m p ro p e r, oftenti m es s m al l a reas of t h e m aste r
w i l l be i m bedded i n t h e g roove a rea of t h e m et a l
m ot he r . T h ro u g h a p r o c ess k n own a s " d e -t i c k i n g , "
a n expe ri e n ced p e r s o n c a n remove t h i s d e b ris w i t h
a s h arp p last i c i n st r u ment an d a f i n e a b ras i ve
p o w d er. T h i s j o b takes steady n e rves a n d a st ro n g
m i c roscope. S e parating t h e acetate a n d the metal [Link].

S e pa rat i n g the m etal master and the mother.

— 33 —
 A n ot h e r p ro c e s s u sed at t h i s stage i s c a l l ed
" d e h o r n i n g H o rn s are s m a l l r i d g es at t h e t o p e d g e
".

of t h e g roove w a l l t h at h a p p e n i n th e o r i g i n a l
c u tti n g u s u a l l y b e c a u s e of excessive s ty l u s h eat.
,

T h ese h o r n s g reat l y co m p l i c ate t h e v i n y l m o l d i n g

p ro cess. At b e s t d e h o rn i n g i s d i ff i c u lt, a n d m a n y
,

c o m p a n i e s d o not p e rfor m it o n e v e ry m ot h er. T h e re

is a n extre m e l y easy w ay to t e l l i f a record has been
d e h o r n e d : W h e n t h e p l ay i n g a r ea i s r u b be d w i t h a
s o ft c l o t h , n o s c uff m a rks w i l l s h o w , w h e r ea s j u s t t h e
o p p os i t e i s t r u e i f t h e m o t h e r u se d for t h a t r e cord
h as a n y d e g ree of horn s.

Polllh ing a meta l mother h e lps get rid of " h o rnl".

W i t h t h e h o l e p rocess co m p l ete. t h e back of t h e

sta m pe r i s s a n ded both by h a n d a n d b y m a c h i n e t o
as s u re b o t h a t i g ht f i t i n t h e p ress a n d a s m o ot h
p ress i n g s u rf ace I f t h i s o p e rati o n i s d o n e h u rried l y
.

o r c a re l es s l y a n y i r r eg u l a r i t y l e ft w i l l g o r i g ht
.

th r o u g h to the v i n y l and cause a g ra i n i n ess effect

A Ita mper ready to go to prell. Note careful l y punched center

hole and fluted edge.

c o m m o n l y c a l l e d o ra n g e p ee l ". O r a n g e peel i n­
"

c reases ru m b l e g reat l y a n d is eas i l y v i s i b l e to t h e

n a ked eye. S t a m p e rs a l t h o u g h s t ro n g , a r e c o m para­
,

t i v e l y t h i n a n d a n y s a n d i n g f l a w or d i rt t r a p p e d

T h e final s t a m per I I separated fro m t h e metal mother.

A ft e r d e h o r n i n g t h e m ot h er is p re pared for t h e
,

f i n a l m et a l s t e p - t h e m a k i n g o f t h e act u a l sta m pe rs
t h e m se lves. T h e m ot h e r is a g a i n i m me rsed i n t h e
n i c k e l bath f o r t h e f o r m i n g of t h e s t a m per. T h e
sta m p e r i s sepa rated fro m t h e m o t h e r a n d a p re c i s e
c e n t e r h o l e is carefu l l y m a d e to a i d i t s m o u n t i n g i n
t h e reco rd p ress. A n off-cente r h o l e w i l l r e s u l t i n
off-center d i scs, w h i c h w i l l "wow" i n p itch eac h
re vo l u t i on .
A stampe r mounted In a rec ord press.

— 34 —
be h i n d t h e m w i l l s h ow u p v i s u a l ly.
We a re n o w ready t o b eg i n the p ress i n g p r o c e s s
itsel f . T he sta m pe r s are bolted i nto t h e c av ity of t h e
rec o r d p ress. C enteri ng t h e sta m p e r i n t h e p ress i s CUTT I N G
c riti c a l , si n c e a st a m p e r t h u s l y m o u n te d w i l l c au se STYLUS
a n off- c e n t e r rec o rd .

The wa rm vinyl b iscuit In place In the center of the stam per.

T h e v i ny l u sed i n records reac hes t h e p ress i n g

p l a n t i n a g ra n u l ated form . V i ny l i n its n at u ra l state is
not b l a c k, but a h o n e y a m b e r . C o l o r i n g m atter,
-

l u b ri c a nts a n d sta b i l iz e r s a re a d d e d for record

p re s s i n g u s e d . So met i mes a p l a n t w i l l salvag e
p l ast i c f r o m d efective re co r d s o r u se t h e "flas h "
( e x ces s v i n y l tri m m ed fro m t h e e d g e of fi n i s h e d
re co r ds ) . R e cy c l i n g v i n y l i s s o m e w h at r i s k y s i n ce
c o n t a m i n at i o n i s p o s s i b l e from f o r e i g n m ateri a l
s u c h a s p a p e r l a b el s T h e v i n y l i s h e ated u nt i l i t h a s
.

t h e f o r m o f m o d e l i n g c l ay i n a d ev i c e k n o w n a s a n
"ext r u d e r".

STA M P E R
The h o t b i s c u it is p l a ce d in the cavity of the r ec o rd
p ress. A l ab e l fo r each s i d e of t h e record h a s bee n
p u t o n e ac h s i d e of t h e v i ny l b i s c u it . T h e p ress
c l o ses o n the b i s c u i t m u c h l i k e a waff l e i ro n . H ere
t h e v i n y l is h eated to a b o u t 300 0 • I d e a l l y , t h e vi ny l
s h ou l d fi l l o u t every g roove i n d e n tat i o n a n d t u rn i n
t h e g roove pre c i sely; w h et h e r it w i l l o r not i s l ar g e l y
a fact o r of p re s s u re (a t y p i cal p ress pro d u ces
p ressu re a p p roac h i n g a ton p e r s q u a re i nc h ) , t e m ­
pe rat u re a n d th e textu re of t h e v i ny l .
T h e various Itages l n t h e prelslng pro ce s s . N oise a n d o t h e r flaws
,

can be I ntrod u ced at any stage.

Aft e r t h e passag e of a p res et t i m e , c o o l wat e r i s
p u m p e d i n to t h e d i e b e h i n d t h e sta m per. T h i s
p r o cess f i r m s u p t h e v i n y l record . T h e p ress w i l l
o p e n after a n ot h e r p reset t i m e i nterv a l . Exce s s v i n y l is t r i m m e d fro m ou r fi n is h e d r ec o rd
A l ot of t h i n gs can h a p p e n to our r e c o rd w h i l e i t ' s by o n e of two ways . A " h ot k n i fe t r i m m e r, " raz o r
i n t h e p res s ( m ost o f t h e m bad ) . T o o h ot a p res s w i l l s h a r p , t ravels t h e d isc c i rc u m fe r e n c e a n d tri m s t h e
cause a warped d is c , too c o l d w i l l g i ve u s a n o i s y "f l as h , " a s t h e s u rpl u s v i n y l i s cal l e d . A d i n ke r c a n
" "

o n e . I f t h e v i n y l d isc d oes n ot s e pa rate from t h e a l s o be u s e d t o p u n c h o u t the rec o rd i n o n e fe l l

sta m pe r , we ach i ev e a c o n d i t i o n cal l e d " p u l l o ut" . swoo p .
P u l l o u t o n a fi n i s h e d record s o u n d s l i ke a m et a l f i l e T h e r ec o rd is sta c k e d o n a s p i n d l e t o coo l t o roo m
r u b b e d a g a i n st a c h i n a p l ate a n d is often v i s i b l e to te m pe rat u re . A fte r a q u al ity c o n t rol i n spect i o n , t h e
the n aked eye. Co m p l i cated g roove ge o m et ry a g g ra­ fi n i s h ed p ress i n g i s s l eeved a n d i n serted i nto t h e
vates ·t h i s c o n d it i o n . co rrect j a c k et ( h o pef u l l y) .

— 35 —
 T h e f i n a l process is t h e a p p l ic at i o n of the c e l l o ­ Past t h e po i nt of da nger? N o t on y o u r l i fe ! Exces­
phane " s h r i n k w ra p . T h i s i s done by pass i n g t h e s i ve h eat o r m o i st u re i n s h i p m e nt o r ware h o u si n g ,
j a c k et ed d isc t h r o u g h a h eat tu n n el . The t e m perat u re
"

i m p r op e r stac k i n g o r stora g e , a n d r o u g h h a n d l i n g
of t h i s p rocess m u st be carefu l l y m o n i to r e d as too
, c a n a l l c o n t r i b u t e t o t h e a l l too freq u e n t defect i v e
m u c h h eat w i l l " b o w" the d i sc a n d cause d i s h rec o r d .

warpage.

A modern, automated rec ord press.

Q u ality c ontrol met h ods vary from plant to plant. Caref ul visual
Ins pection I. a must.

A pr••••d [Link] before th. fla.h ha. been trim m.d. Packing and sh ipping are also Importanl.

— 36 —
This special stylus plays only stampers and m etal mothers. As can be seen In this remarkable ph oto, It straddles the neg ative groove.

Complex groove geom elrles ca n often cause press i n g problems. This p h oto shows the raised g roove. o f a m e ta l master. The debris
The vi n y l m u st f ill every n ook and cranny, much like hoi b utler o n to be removed by de-ticking are clea rl y visible. (Photo courtesy of
an English m uffin . Stanton Magnetics)

— 37 —
— 38 —
 Com mon Record Defects

D E FECT CA U S E S

WOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . O ff-c e n t e r rec o r d , cau sed by the center h o l e i n

t h e sta m per bei n g off, o r by off-center m o u nt­
i n g of t h e sta m per i n t h e p ress.

TH U M PS . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . ... . . . . . . . D i m p l es caused by gas i n c o m p o u n d ; a l so d i rt

u n der t h e sta m p e r or p o o r d i e re pai r; de nted
sta m per.

TICKS + POPS . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . P ress n ot h e ated to operat i n g t e m perat u re ,
poor s i lveri n g of l acq u er, i m p u rities i n v i n y l .

SWiSHES . . . . . . . . .... . . . . . . . . . . . . . . ... . . . . . . . . . . . . E x c essive " h o rns"; b a d v i n y l ; b a d s e p a r at i o n

. .

G R ITT I N ESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . N o n fi l l ; worn sta m per; fa u lty separat i o n .

R U M B LE . ... . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . I m p ro p e r sa n d i n g of stam per back; bad l y wo rn
.

d i e.

PRE-ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I m p ro per g roove ex pa n s i o n ; vari a b l e p i t c h un­

dersh oot; too fast i n it i al p l at i n g of m aster.

I N N E R G R O O V E D i STORTI O N . . . . . . . . . E n d i n g d i a m eter too s m a l l ; record i n g l eve l too

l o u d ; w ro n g e q u a l i z a t i o n
. . . . . . .

R O A R I N LEAD I N G R O O V E . . . . . . . . . . . . . . . . . Bad "co i n i n g " or l ead i n g ro ove h as excessive

. .

depth.

R AS PY, S C R AT C H I N G S O U N D . . . . . . . . . . . . . . C r u s hed g rooves o n sta m per. H a p pens when

. .

t h e p ress c l oses wit h n o v i n y l .

" D I S H " W A R PA G E . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . T h e reco rd w i l l be s h aped a n y w h e re f r o m a
b o w l to a h u bc a p . D u e to s m a l l d iffere nce
between t h e p ress die a n d sta m per t h i c k n ess.
A l so, i m p ro per sta c k i n g of warm records.

"PI N C H " W A R PA G E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The rec o rd w i l l be warped in a 1 5 to 400 arc.

Caused by i m p ro p e r re m oval of record from
p ress; i m p ro p e r tri m m i n g of fl as h ; record
t ri m m ed w h e n too h ot.

"SAD D L E" WA R PA G E . . . . . . . . . . . . . . . . . . . . . . . . . . . Record bowed o n o n e d i a m et e r; i m proper

storage; w a r p ed rec o rd j ackets; s h ri n k w ra p
t o o h ot w h e n a p p l i e d .

R E V E R S E D LAB E L S
W R I N KL E D I N N E R SLEEVE
W R O N G R E C O R D IN J A C K E T . . . . . . . . . . . . . . . . . AII c a u sed by h u ma n i n c o m p et e n ce .
T O R N LA B E LS
F I N G E R P R I NTS O N R E C O R D

— 39 —
Playback sty l us resting In a groove ( 1 ,000 magnification). Severe "horns" are vlslble .t t h e top of each g roove wall, typical of an I [Link]
p [Link]. ( P h oto cou rtesy Stanton Magnetics)

— 40 —
Commonly Accepted Di mensions and
sta ndards for Recorded Discs

U N M O D U LA T E D G R O OV E W I D T H
2 MIL MINIMUM, 4 M I L M AXI M U M

O U TS I D E STA RT I N G D I A M E T E R
7" D I S C S 6 . 78 " + . 06 - . 0 0
1 0 " D I S C S 9 . 72" + . 06- . 00
1 2 " D I S C S 1 1 . 7 2" + . 06- . 00

S T A R T M O D U LATE D P I T C H
7" D I S C S 6 . 63 " - . 03 + . 00
1 0" D I S C S 9 . 50" - . 03 + . 00
1 2 " D I S C S 1 1 . 50 " - . 03 + . 00

N OTE: P i t c h s h o u l d be u n d e r 200 L P I
2 to 3 secon d s after lead
in s p i ra l c o m p l et i o n

M I N I M U M I NS I D E D I A M E T E R
7" D I SCS 4 .25 "
1 0 " D I S C S 4 . 75 "
1 2 " D I S CS 4 . 75 "

L O C K O U T G R O OV E D I A M ET E R
7" D I S C S 3 . 88 " + . 00 - . 08
1 0 " D I S C S 4. 1 9 " + . 00 - . 03
1 2 " D I S C S 4. 1 9 " + . 00 - . 03

LEAD O UT
M u st c o nt a i n o n e c o m p l et e revo l u t i o n at l e a d
o u t p i t c h . P it c h s h o u l d be u n d e r 2 0 0 L P I 2 t o 3
s ec o n ds before lead o ut .

SPI RALS
At l east 1 6 L P I , n ot m o re t h a n 3 2 L P I . P i t c h
s h o u l d b e u n d e r 2 0 0 L P I 2 to 3 s e c o n d s p r e a n d
post s p i ra l .

M O D U LATE D G R O O V E S
M ax i m u m d e pt h , 5 M i l . M i n i m u m , 1 M i l . E a c h
l a cq u e r m u st c o n ta i n o n e c o n t i n u o u s g ro o v e
w i t h a d j a c e n t l a n d . T h e � roove m u st n ot c ross
o v e r i ts e l f o r cut i nt o I t se l f in a way w h i c h
co m p ro m i ses g ro o v e w a l l i nt e g r i t y .

— 41 —
 c;
o
�
�
'E
Ql
E
'"
o
o
o
o·
T""
c;

— 42 —
o
";;;
-
&.
Ql
" ;;'
c;
D-
'"
E
<II
>
o
E
Ql
�
o
�
u
.,
c;
Ql
c;
'"
<II
>0-
<II
>.
:::I
�
.:.::
U
.,
..c
>­
D­
.,
c;;
.g
<II
-'=
C.
<II
«
FREQUENCY I N HZ: DB
20 - 19 3.

30 - 1 8. 6
40 - 1 7.8
50 - 17 0.

60 - 1 6. 1
70 - 1 5.3
80 - 1 4. 5
1 00 - 1 3. 1
110 - 1 2.4
1 25 - 1 1 .6
1 50 - 1 0.2
200 - 8.3
250 - 6.7
300 - 5.5
400 - 3.8
500 - 2.6
600 - 1 .9
700 - 1 .2
800 .7
1 .000 0
1 ,500 + 1 .4
2,000 + 2.6
3, 000 + 4.7
4,000 + 6.6

5, 000 + 8.2
6,000 + 9.6
7,000 + 1 0.7
8,000 +1 1 .9

9,000 +1 2.9
1 0,000 +1 3.7
1 1 ,000 +1 4.5
1 2,000 + 1 5.3

1 3,000 +1 5 . 9
1 4,000 +1 6.6
1 5,000 +1 7.2
1 6,000 + 1 7.7
1 8,000 +1 8.7
20,000 +1 9.6

— 43 —
A teat record atter 1 00 p l a y a . N ote 20K H Z m o d u l ation on ri g h t g roove wall, none on left ( 1 0,000 magni fication). G roove wear la clearly
evident. ( Photo c ou rteav of Sta nton M a g n etic)

— 44 —
 Gl ossa ry

CHiP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e t h read o f acetate w h i c h i s c u t o u t of t h e

g ro o v e . I t i s re m ov e d b y a v ac u u m s y s t e m t h r u
a t u be l o cated at t h e r e a r of t h e c u tt e r h e a d .

COINING . . . . . . . . . . . . . . . . . . T h e be n d i n g o r tape ri n g of t h e e d g e of t h e
sta m p e r s o t h at i t ac h i eves a s n u g f i t o n t h e d i e .
. . . . . . . . . . . . . . . . . . . . . . . .

T o o d e e p a l e ad i n g r o ove w i l l c a u s e e a r l y
sta m pe r f at i g u e a n d b re a k i n g of t h e e d g e .

CO M P O U N D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e v i n y l m i xt u re f r o m w h i c h rec o r d s a re
p ressed .

DIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e m et a l base t o w h i c h t h e s t a m p e r i s b o l t e d
i n t h e re c o rd p ress.

DI NKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A d e v i c e w h i c h t ri m s the ex c e s s v i n y l f r o m a
f r es h l y p ressed rec o r d .

F LAS H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Excess v i n y l t r i m m e d off o f a n e w l y p re s s e d

reco rd . I t i s r e m e l t e d a n d re- u sed .

LPI A n a b b rev i at i o n m e an i n g l i n es pe r i n c h . S o m e­
t i m e s ex p ressed as G P I o r g r o o v es p e r i n c h .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LAN D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e a re as o f s p a c e b et w e e n t h e g rooves o f
a d i s c.

M ASTE R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e n i c k e l m aste r i s made b y e l ectrofo r m i n g i t

f ro m t h e o r i g i na l acetate . I t i s u sed f o r m ak i ng
n e w m o th e rs . A d d i ti o n a l m et a l m a ste rs c a n be
m a d e o n l y f r o m ad d i t i o na l maste r l ac q u e rs .

M AST E R N U M B E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e i d e n t i fy i n g d i g it s s c r i b e d i n to t h e l ea d o u t
a rea of a m aster d i sc .

MIL . . . . . . . . . . . . .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e t e r m u sed f o r o n e t h o u sa n dt h of a n i n c h .
B o t h g ro o v e d e p t h a n d w i d t h a re ex p ressed
i n mils.

M OTH E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M a d e f r o m n i c ke l , i t i s a n exact d u p l i cate o f t h e

o r i g i n al a cetate. A d d it i o n a l m o t h e rs c a n be
m a d e fro m t h e m et a l m ast er. M ot h e rs a r e u s ed
to m a k e m o re sta m p ers.

N O N -FI LL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . See U N- F I L L

O N E S T E P PR O C E SS I N G . . . . . . . . . . . . . . . . . . . . . . A p ro c e s s w h e re a s et o f sta m p e rs a re m a d e
d i rect ly f r o m a s e t o f m aste r l a c q u e rs. U se d
o n l y f o r s h o rt ru n s d u e t o l i m i t e d s ta m p e r l i fe.
A d d it i o n a l s t a m p e rs m u st b e m ad e f r o m a d d i ­
t i o n al acet ate m asters .

O V E R C UT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A co n d it i o n w h e re a d j a c e n t g rooves i nt e r c u t
with each other.

— 45 —
PEAK M E T E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A l e v e l m o n i t o r i n g d ev i ce w h i c h s e n ses and
s h ows i nsta nt a n eo u s levels rat her t h an aver­
a g i n g the p eaks. S o m eti mes k n o wn as P P M ,
s ta n d i n g fo r Pea k P rog ram M eter.

P I N C H E F F E CT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e t e n d e n c y of a p l ay ba c k sty l us t o r i d e over
g roove u n d u l ati o n s an d cu rves rat her t h a n
a ro u n d the m .

P I N G P O N G STE R E O . . . . . . . . . . . . . . . . . . . . . . . . . . . A term u sed to desc ribe a ste reo rec o rd i n g

havi ng ve ry l ittle o r n o center c ha n n el i n f o m ar ­

tion.

P iTCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e rate a t w h i c h t he cutterh ead a n d sty l us

t ravel across t h e d i s c .

P R E-EC H O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A c o n d i t i o n w h e re t h e s o u n d of t h e n ext
g ro ove c a n be h e a rd i n the g roove adj acently
cut.

RF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A b brev i at i o n for r a d i o freq u e n cy. Refers t o

t h at part of t h e freq u en cy spect r u m between
a u d i bl e sou n d and i n frared l i g ht , a b o u t 1 0 K H Z
to 1 0, 000, 000 M HZ.

R E F E R E N C E LACQ U E R . . . . . . . . . . . . . . . . . . . . . . . . A d i rect cut acetate d i sc used fo r a u d i t i o n p u r­

po s e s S i m i lar i n f u n ct i on to a p roof ph oto­
.

g ra p h . C h a nges i n l evel, E O , etc. , c a n be

c h a n g ed before f i n a l acetate m asters are c ut.

SCRIBING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e n u m beri n g c ut i nto t h e m aster l acq uer.

located i n t h e l ead o u t areas o f a rec o r d . I t i s
u s e d to m at c h u p t h e l a b e l s w i t h t h e c o rrect
sta m pers.

SE PARATI O N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The degree of i s o l at i o n between two o r m ore sig­

nals.

S H I BATA STYLUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A p lay b a c k sty l u s o r i g i n al l y m a d e t o p lay C D-4

q u ad rafo n i c rec o rd s It has s m a l l rad i u s s h o u l ­
.

ders to m o re effect ively trace t h e s m a l l est wave

l e n gt h s i n t h e g roove w a l l . It is m o re py a m i d a l
r

i n shape, with a l a r g e r cu rvat u re of its su rfaces

rest i n g against the wa l ls para l l e l to the mod u l a­
ti o n .S i n ce t h e a rea of the sty l u s tou c h i n g the
g roove i s i ncreased b y f o u r m a n y c l a i m it
,

wears a rec ord l ess, beca u se t h e we i g ht of t h e

sty l u s and arm are d istri buted over a l arg e
su rface a rea.

S i LVER I N G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h e i n itial coat i n g applied to a m as te r d isc.

S P i R AL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The v i s u a l s paci n g between se l ect i o ns on a

rec o r d D o n e by dec reasi n g t h e speed ( p itc h )
.

of t h e l at h e.

STA M P E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A n e l e ctrofo r m ed p rodu ct i o n plate, so l i d n i c kel

fo r h ard n ess and d u ra b i l i t y . U sed to p ress t h e
v i n y l records. Add iti on a l stam pers can be m ade
fro m the m ot h er.

— 46 —
T E ST P R E S S i N G . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . A n actual press i n g m ade fro m fi n i s h ed sta m pers
for acceptance a n d a p p ro v a l .

U N - FI L L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A c ond iti o n caused when v i n y l does n ot "fi l l

out" eve ry g roove n oo k a n d u n d u l ation. N or­
mal l y in the l e ft c h an n el .

V U M ET E R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A m eter u sed fo r m on it o ri n g l eve l s . I t read s

zero level o n its r a n g e w h e n t h e v o ltage e q u iva­
l ent to o n e m i l l i w att i n 600 O H M S ( . 775 v o l ts) i s
app l i e d . N o r m a l l y , a n atte n u at o r i s p u t a h ead
of t h e m eter so t h at its ze ro l evel r ead i n g is +4
D B M ( 1 .23 v o lts) .

WOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A slow peri o d i c c h a n g e i n t h e p i t c h o r freq u e n cy

d u r i n g reco rd i ng or p l a y back I n ta pe, n o r m a l l y
.

caused by tra n sport m aladj u st m ent. I n d is c ,

caused by an off-center rec o r d , m ost n ot i cea b l e

on piano .

WRAP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T h at p a rt of a t a p e ' s t ravel w h e re it i s i n i nt i m ate

phys i cal co ntact with the h ea d . It i s s o m et i mes
m eas u re d as t h e a n g le of a r ri val a n d d e p a rt u re
of t h e t a pe wit h res pect to t h e h ead .

The raIled g roovel on a n Ickel Itamper. ( P hoto courtelY Stanton Magnetlcl)

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This p h oto s h o ws l u st h o w h a rd a task the p l a y b a c k s ty l u s h as. Fai l u re to c o m pletely trace out each a nd every g roo v e undulation wi ll
resu l t I n distorti o n ( 1 ,000 m a g n i f icati o n ) . ( P h o t o c o u rtesy of S t a n t o n M ag n etics)

— 48 —
 Major U .S. Di sc Cuffi ng Fac i l ities

r; "
A = M R EC O R D I N G C R ITE R IA R E CO R D I N G I N T E R N AT I O N A L A U T O MATED
1 4 1 6 N. La B rea Ave. 1 755 N E 1 49t h St. MEDIA
H o l lywood , CA 90028 M i a m i , FLA 33 1 8 1 1 7422 M u rp h y Ave.
( 2 1 3 ) 469-2 4 1 1 (305 ) 94 7-5 6 1 1 I r v i n e , CA 927 1 4
( 7 1 4) 75 1 -2 01 2
A G E N CY R E C O R D I N G C R Y STAL R E C O R D I N G
1 730 E . 24 St. 1 0 1 4 N. V i n e St. J E W E L R E CO R D I N G
C leveland , O h io 44 1 1 4 H o l l ywood , CA 90038 1 594 K i n ney Ave .
(21 6) 621 -081 0 ( 21 3) 466-6452 C i n c i n n at i , O h i o 4523 1
( 5 1 3 ) 522-9336
A N N EX STU D I O S D I S KW E R K S
1 032 N. Sycamo re 1 200 R e m i n g t o n R d . J V C C U TT I N G C E N T E R
H o ll ywoo d , CA 90038 S c h au m b u rg , I I I. 601 95 .
6363 S u n set B l v d , S u ite 500
( 2 1 3) 464-7441 ( 3 1 2 ) 885-1 330 H o l l ywood , CA 90028
( 2 1 3 ) 467- 1 1 66
A R D E N T MASTER I N G E LECTRA S O U N D
2000 M a d i son Ave. 962 N . La C i e n e g a B l v d . K - D I S C MASTER I N G
M e m p h i s , Te n n . 381 04 Los A n geles , CA 90069 6550 S u n set B l v d .
(901 ) 725-0855 (2 1 3 ) 655-8280 H o l l y w ood C A 9 0028
,
( 2 1 3) 466- 1 323
A R T I SAN S O U N D FANTASY STU D I O S
1 600 N. W i l cox Ave. 1 0t h & Pa rker KEN D U N R EC O R D E R S
H o l l ywood , CA 90028 B e r k e l ey , CA 9471 0 6 1 9 S . G lenwood Place
( 2 1 3) 46 1 -275 1 (41 5) 549-2500 B u rba n k , CA 9 1 506
( 2 1 3 ) 843-8096
ATLANT I C STU D I O S FI LMWAYS/H E I D ER
1 84 1 B roadway RECOR DING L O CAT I O N R E CO R D I N G
N ew Y o rk , N Y 1 0023 1 604 N. C a h e u n g a B l vd . 2201 B u rb a n k B lvd .
(21 2 ) 484-8490 H o l l ywood , CA 90028 B u rban k , CA 9 1 506
(2 1 3 ) 466-5474 ( 2 1 3) 849-132 1
AUTO MATT
827 Fo l s o m St. F R A N K F O R D/WAY N E MASTER C UT T I N G R O O M
S a n F ran c i sco, C A 94 1 07 M ASTER I N G 3 2 1 West 44th Street
(41 5) 777-4 1 1 1 1 697 B roadway N e w Y o r k , N Y 1 0036
N ew Y o r k , N Y 1 00 1 9 ( 2 1 2) 5 8 1 -5609
CAPITO L R E CO R DS ( 2 1 2 ) 582-5473
1 750 N. V i n e St. MASTE R I N G LAB
H o l l yw o o d , C A 9 0 028 FRAN KFO R D/WAY N E 6 033 H o l l yw o o d B lvd :
(213) 462-6252 MASTE R I N G H o l l y wo o d , C A 90028
1 32 N. 1 2t h St. ( 2 1 3 ) 466-85 89
C O L U M B I A R E CO R D I N G P h i l a d e l p h i a, P A 1 9 1 07
ST U D I O S ( 2 1 5 ) 561 - 1 794 MCA RECORDIN G
34 M u s i c Sq u are E. 1 5 1 6 West G l enoaks
N a s hv i l l e , Te n n . 3 7203 GLOBE R ECORDING G le n d ale, C A 9 1 2 0 1
( 6 1 5) 259-432 1 1 3 1 3 D i c ke rson R d . ( 2 1 3 ) 245-6801
N as h v i l l e, Ten n . 37207
C O L U M BIA R E C O R D I N G ( 6 1 5 ) 226-08 1 1 M AST ER C R AFT
STU D I O S 4 3 7 N . C level a n d S t .
49 East 52 n d St. G O L D STAR R E C O R D I N G M e m p h is, T e n n . 3 8 1 04
N ew Y o r k , N Y 1 0022 6252 S a n t a M o n i c a B l vd . ( 9 0 1 ) 2 74-2 1 00
( 2 1 2) 765-5901 H o l l y w oo d , CA 9 0 0 3 8
( 2 1 3 ) 467-5 1 3 1

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MASTE R D I C K N O LA R E CO R D I N G STU D I O S S O U N D 80
1 6 W . 6 1 st S t . 1 1 1 W . 5 7 t h St. , P e n t h o u se 2709 E. 25th S t .
New Y o r k . N Y 1 0 0 2 3 N e w Y o r k , N Y 1 00 1 9 M i n n eapo l is. M i n n . 55406
( 2 1 2 ) 5 4 1 -5022 ( 2 1 2 ) 586-0040 ( 6 1 2 ) 72 1 -634 1

MASTE R FO N I CS P R E C I S I O N LACQ U E R S O U N DT E K , I N C .
28 M u s ic S q u a re E a s t 1 008 N o rt h C o le 50 W. 57th St.
N a s h v i l l e T e n n . 3 7203
. H o l lywood , CA 90038 N ew Y or k , N Y 1 00 1 9
( 6 1 5) 32 7-4533 ( 2 1 3 ) 4 64 - 1 0 08 ( 2 1 3) 489-0806

M ASTE R I N G LAB R A N DY'S R O OST STE R L I N G S O U N D

6033 H o l l y wood B l vd . 30 M usic S q u a re West 1 790 B roadway
H ol l y w o o d . C A 90028 N a s hv i l l e . Ten n . 37203 N ew Y ork. N Y 1 00 1 9
( 2 1 3 ) 466 - 8 5 8 9 ( 6 1 5) 254-88 2 5 ( 2 1 2 ) 757-85 1 9

M ASTERTO N E R E CO R D I N G R E CO R D E D P U B L I CATI O N S T H E TALK I N G MAC H I N E C O .

1 30 W . 42n d S t . 1 1 0 0 S tate St. P . O . Box 35354
N ew Y o rk . N Y 1 0036 C a m d e n , NJ 08105 Phoenix . A riz . 85069
( 2 1 2 ) 840- 1 930 (609 ) 963-3000 (602) 938-8347

M E D IASO U N D R E F E R E N C E P O I NT U N IVE R SAL R E CO R D I N G

3 1 1 W . 5 7 t h St . 4020 W. M a g n o l i a B l v d . 4 6 E . Wa l t o n
N e w Y o r k . N Y 1 00 1 9 B u rban k , CA 9 1 505 C h icago, I I I . 6061 1
( 2 1 2 ) 765-4700 ( 2 1 3 ) 845-5 1 84 ( 3 1 2 ) 642-6465

M OT O W N S T U D I O S S COTT -SU N STO R M VAN G E L D E R R E COR D I N G

73 1 7 R o m a i n e St. R E CO R D I N G 445 R t . 9W
L.A . . C A 90046 8 2 55 B ev e r l y B l vd . E n g lewood C l i ffs . NJ 07632
( 2 1 3 ) 468-353 0 L . A . , C A 90048 (201 ) 567-4 1 45
( 2 1 3 ) 658-5990
M U S I C FACT O R Y WAR N E R BROS. R E CO R D I N G
567 N W 2 7t h S t . S O N I C ARTS 1 1 1 1 4 C u m pston Ave.
M i a m i , F l a . 33 1 2 7 665 H a r riso n St. N. H o l l y w oo d CA 9 1 6 0 1
S a n F r a n c is c o CA 941 07
,

( 305 ) 576-2600 . ( 2 1 3 ) 763-4396

( 4 1 5) 78 1 -6306
N AS HV I LL E R E C O R D W O O DLA N D S O U N D
P R O D U CTI O N S 1 0 1 1 Wood l a n d S t .
469 C h estn u t St. N as hv i l l e. T e n n . 37206
N a s h v i l l e . Te n n . 3 7203 ( 6 1 5) 227-5027
( 6 1 5) 2 5 9-4200
ALLEN ZENTZ R E CO R D I NG
1 02 0 N . Syca m o re
H o l l ywood , CA 90028
( 2 1 3 ) 8 51 830 0
-

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 Major U .S. Record Press i ng Faci l ities

*A & R R E C O R D MANUFACTURING C O L U M B IA R E CO R D P R E SS I N G
902 N. I n dustrial Blvd. Wood b u ry-G lassboro A d .
Dal l as, TX 75207 Pitma n , N J 08071
( 2 1 4 ) 7 4 1 -202 7 (609) 589-8000

A L B E R T I M A N U FACT U R I N G C O L U M B IA R E C O R D P R E SS I N G
3 1 2 M o nt e rey Pass A d . 1 400 Fru itri d g e Ave.
M o n terey Par k , CA 9 1 754 Terre H a ute, I n d . 47805
( 2 1 3 ) 282-5 1 81 (81 2 ) 466-8770

A L C O R ES E A R C H C O L U M B I A R E C O R D P R E SS I N G
6 2 0 1 Sa nta M o n ica B l v d . 900 E . Stowe l l A d.
H o l lywood , CA 90038 Sa nta M ar i a , C A 93454
(21 3) 466- 1 1 0 1 (805) 922-45 1 1

ALL D I S C R E C O R D S D I S K M AK E R S
625 W. F i rst Ave. 9 2 5 N . 3rd St.
Aosel le, N J 07203 P h i l ad el p h i a, PA 1 9 1 23
( 20 1 ) 245-74 1 5 (2 1 2) 966-3 1 85

*ALS H I R E R E C O R D P R ESS I N G D I XI E R E C O R D P R E SS I N G
1 01 5I sabel St. 6 3 1 H a m i lt o n Ave.
B u rban k, CA 9 1 5 1 0 N a s hv i l l e, Te n n . 37203
( 2 1 3) 849-4 6 7 1 ( 6 1 5) 254-3 4 8 1

APEX R E C O R D P R E SS I N G * F I D ELATO N E M A N U FACTU R I N G

947 US H wy. # 1 1 2848 We ber Way
R as h way, N J 07065 H awtho rne, CA 902 5 0
( 2 0 1 ) 574-1 400 ( 2 1 3) 678-4346

A R C H E R R E C O R D P R E SS I N G GOLDISC RECORDINGS
7401 E . Dav i s o n Veterans H i g hway & B road way
Detro it M I 48077 H o l broo k, N . Y . 1 1 74 1
( 3 1 3) 365-9545 ( 5 1 6) 589-0462
*ARTIST RECOR D I N G * K-DISC
320 M i l l St. 26000 S pri n g book
C i n ci n n at i , OH 45205 S a u g us, CA 931 5 0
(51 3) 761 -00 1 1 (805) 259-2360

B ESTWAY P R O D U CTS CA P I T O L R E C O R D P R E SS I N G
1 1 05 G l o be Ave. K ernstown At. 652
M o u ntai n si d e , N J 0 7 092 S h awnee D r.
( 2 0 1 ) 232-8383 Wi n c h ester, VA 2260 1
( 703) 667-8 1 25
CAPITO L R E C O R D P R E S S I N G
1 C a p it o l Way
J ackso n vi l l e, I I I . 62650 * ' n d i cates i n-ho use maste ri n g
( 2 1 7) 245-9631 fac i l i ti e s ava i l ab l e

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 K E E L M A N U FACT U R I N G RCA R E C O R D P R ESS I N G
C a rd i n a l I n d ustrial Park 6550 E. 30 St.
1 5 G i l p i n Ave. I n d i a n a po l i s, I n d . 462 1 9
H a u p p a u g e N . Y . 1 1 787
, ( 3 1 7) 542-630 1
(5 1 6) 234-0200
R . G . H . R E CO R D M A N U FACTU R I N G
KORELICH ENGINEERING 7 5 0 E i g ht h Ave.
633 1 S a nta M o n i c a B l v d . N ew York, N . Y . 1 0036
H o l ly w o o d , C A 90038 ( 2 1 2 ) 354-4336
( 2 1 3 ) 462-2545
R A I N B O R EC O R D MAN U FACT U R I N G
M CA M A N U FA C T U R I N G 1 738 B e r k e l ey St.
R o u te 30-A Sa nta M o n i ca, CA 90404
G l ov e rsvi l l e , N .Y. 1 2078 ( 2 1 3) 829-3476
( 5 1 8) 725- 0604
R E C O R D TECHN OLOGY
M CA M A N U FA CT U R I N G 486 D a w s o n D r.
H i g h way 1 54 C a m a ri l l o , C A 9301 0
P i n c k n ey v i l l e, I I I . 622 74 ( 805) 484-2747
( 6 1 8) 357-2 1 67
* R I T E R E C O R DS
M O N AR C H R E C O R D P R E S S I N G 9745 M a n g h a m Dr.
9545 S a n F e r n a n d o R d . C i n c i n n at i , O h i o 452 1 5
S u n V a l l ey C A 9 1 352
, ( 5 1 3) 733-5533
( 2 1 3 ) 767-8833
S U N PLASTI CS
* M U S-I- C O L R E CO R D I N G 900 P as s a i c Ave .
780 O a k land P a r k Ave . East N ew a r k , NJ 07029
C o l u m b u s , O h i o 43224 ( 2 0 1 ) 482-6749
( 6 1 4) 267-3 1 33
S U P E R I O R R E C O R D P R ES S I N G
PRC RECORDING 900 Ken nedy B lvd.
1 8700 Lau re l park R d . So m m e r d a l e , N J 08083
C o m pto n , C A 90220 ( 609) 784-6600
( 2 1 3 ) 979-8545
U N I T E D R E C O R D P R E S SI N G
PRC R E C O R D I N G 453 C h e s t n u t St.
1 600 R i c h R d . N as h v i l l e , Te n n . 37203
R i c h m o n d , I n d . 4 73 74 ( 6 1 5) 259-9396
(31 7) 962-95 1 1
VI R C O P R E SS I N G
P R E C I S I O N R EC O R D P R E SS I N G 700 D ate A v e .
7 0 V i sco C o u rt A l h am bra, CA 9 1 803
N a s h vi l l e, Ten n . 372 1 0 ( 2 1 3) 283- 1 888
( 6 1 5) 256-8978
H.V. WAD D E L L C O .
P R E S S W E L L R E C O R D M A N U FACTU R I N G 2 3 1 W . O l i ve
Wh ite H orse P i k e B u rba n k , CA 9 1 502
Ancora, NJ 08037 (2 1 3) 849-650 1
( 609) 561 -5250
*WAKE F I E L D M A N U FACTU R I N G
P U C C I O R E C O R D M A N U FACTU R I N G 1 745 W . L i n d e n
9 0 1 E . 1 08th St reet Phoe n ix , Ariz. 85005
L . A . , CA 9005 9 ( 602 ) 252-5644
( 2 1 3) 564-4872

*Q U E E N C ITY A L B U M " I n d i cates i n- h o u se m a steri n g

2 8 3 2 S p r i n g G rove Ave. fac i l ities ava i l a b l e
C i n c i n n at i , O h i o 45225
( 5 1 3 ) 68 1 -8400

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