Peak level on your master vs peak level on the vinyl This distortion increases with every digital or analogue processing or copying/disc-cutting. We sometimes receive files with heavy overloads. Avoid Distortionīeware of distorted sounds, they will maybe still sound OK to you om your digital master but by the analogue nature of the viniy record any distortions might increase during the processing and end up totaly unacceptable on the final cut. Most of these problems can be avoided by checking your mix in mono and making small alterations to make your mix better mono-compatible, a better mono-compatible mix usually also sounds better in stereo. Listen in MonoĮxtreme left or right panning results in large out-of-phase signals and complex grooves wich may create playback problems. Excessive stereo separation and out of phase signals, particulary at low frequencies, can result in grooves on the vinyl record that have large vertical excursions. Keep your bass (all instruments with lots of low frequencies) in the middle of your mix, avoid excessive stereo separation and watch out for bad phase-relationships. (For those who really care: remember the RIAA curve gives about 18 dB boost at 18 kH)ĭo not try to compensate for possible losses it will usually make matters worse. Low frequencies take more space on the disc than mid- and high frequencies, so they will fill the disc sooner, i.e reducing the available playing time at the choosen level or forcing the cutting engineer to reduce the level to fit the track(s) on the side of the vinyl record.Įxcessive high frequencies may give rise to distortions on playback forcing the cutting engineer to limit or lower the amount of top or lower the overall level. not side A: 7 minutes, side B: 20 minutes. If possible, please balance the duration of the sides, i.e. Remember vinyl-rule number one: longer sides means lower volume levels p. 117.Please remember that a vinyl record is an analogue medium! On CD (or another digital medium) you can get away with almost anything, an analog vinyl record has limitations. "Meet the studios keeping dubplate culture alive". "Nuff Wheel Ups: Exploring Dubplate Culture". Archived from the original on 16 July 2015. "Dreams rendered in metal: A look into dubplate culture". Archived from the original on 4 April 2019. "Dubplate Culture: Analogue Islands in the Digital Stream". ^ "Music House Studio Inside one of London's legendary dubplate studios".^ "The strange origin of the UK Reggae big bass sound: John Hassell Recordings, Barnes"."How Jamaican soundsystem culture conquered music". Etymology Īccording to David Toop, the " dub" in dubplate is an allusion to the dubplate's use in "dubbing" or "doubling" the original version of a track. New music would regularly be composed and recorded onto DAT tape in order for it to be cut onto dubplate, often so that it could be played that weekend (or even that night).ĭespite the shift to DJing on digital mediums such as CDJs and DJ controllers, dubplates continue to be used for playing exclusive music and have also gained a specialist market in recent years. This would be followed through its descendants UK garage, grime and dubstep, and cutting houses such as Transition. Whilst acetates have been used in the music industry for many years, especially in dance music, dubplates would become a particularly important part of the jungle/ drum and bass scene throughout the 1990s. Throughout the 1980s and 1990s, Music House in North London and JTS Studio in East London would become the two most prominent "cutting houses". John Hassell and his wife ran a recording studio from their suburban house in Barnes, South West London, but would become key to British sound systems and artists such as Dennis Bovell. In the UK, the earliest place to cut reggae dubplates would also be one of the most unlikely. As such, these would become known as "dubplate specials" often remarking on the prowess of the sound system playing it, in a bid to win the clash. Special and one-off versions would be cut to acetate for competing in a sound clash, utilising vocals specially recorded to namecheck the sound system. The first use of dubplates is commonly attributed to sound engineer King Tubby and reggae sound systems such as Lloyd Coxsone and Killamanjaro.
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