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how get music onto vinyl?


greenball141

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there are etching machines ... but they are quite expensive and the records you etch with them don't last forever...

 

in a vinyl shop they might be able to do it aswell and it's not as expensive as getting an etching machine for yourself...

 

but the best would still be to burn it on CD ... mp3 has not perfect sound quality anyway, so you wouldn't gain any sound quality if you etched it onto vinyl...

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How you gets sound from vinyl freaks me out.

I just don't understand it!

A groove & a needle? :ph34r:

I'm going to assume you aren't being sarcastic and respond to this.

 

Vinyl records, are, of course, analog. The term 'analog' comes from 'analagous', which means similar or equivalent. The groove in a vinyl record, if you got really deep in and close to it, would look like the waveform of the audio that was originally created. When a record is cut, a laquer disk is cut with a lathe that vibrates in response to the audio signal--low frequencies make the lathe cut long waves out while high frequencies cut short waves out of the laquer. So if you were really tiny and standing in the groove of a record, the really long hills and valleys would be the low freqencies, while the short hills and valleys would be the higher frequencies. The laquer master is then copied a few times on it's way to making a metal stamper that stamps out the record you buy from a bunch of vinyl.

 

When you play the record, it does the opposite of what the cutting lathe does. Instead of an electrical audio signal being converted into mechanical movement, the hills and valleys in the groove make the needle vibrate, which is then converted into an electrical signal, which is then amplified for sweet, sweet music. You know when you play a 33 1/3 record at 45 and the pitch goes up? That's because all the hills and valleys are making the needle vibrate faster than when played 33 1/3. Faster vibration results in higher frequencies.

 

On a related note, the physical characteristics of vinyl records caused problems when the music cut had strong low-frequency content. Equal-loudness (or Fletcher-Munson) curves show how our ears respond to different frequencies, and they show that low frequencies require higher power for the same perceived loudness. On a vinyl record, louder means bigger hills and valleys for a frequency in the groove. When these hills and valleys get too big, the groove has to be very wide, meaning less real estate on the disk (and therefore less time per side), and there is an issue of the needle jumping out of the groove from a big bump. These problems were addressed in the 1950s with the creation of the RIAA curve and its equivalents. The RIAA curve is a specific filter that reduces low frequencies and boosts high frequencies when a laquer is cut, and upon playback, a phono preamp has a compensation filter to return the frequency balance to normal (though it's not perfect).

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I'm going to assume you aren't being sarcastic and respond to this.

 

Vinyl records, are, of course, analog. The term 'analog' comes from 'analagous', which means similar or equivalent. The groove in a vinyl record, if you got really deep in and close to it, would look like the waveform of the audio that was originally created. When a record is cut, a laquer disk is cut with a lathe that vibrates in response to the audio signal--low frequencies make the lathe cut long waves out while high frequencies cut short waves out of the laquer. So if you were really tiny and standing in the groove of a record, the really long hills and valleys would be the low freqencies, while the short hills and valleys would be the higher frequencies. The laquer master is then copied a few times on it's way to making a metal stamper that stamps out the record you buy from a bunch of vinyl.

 

When you play the record, it does the opposite of what the cutting lathe does. Instead of an electrical audio signal being converted into mechanical movement, the hills and valleys in the groove make the needle vibrate, which is then converted into an electrical signal, which is then amplified for sweet, sweet music. You know when you play a 33 1/3 record at 45 and the pitch goes up? That's because all the hills and valleys are making the needle vibrate faster than when played 33 1/3. Faster vibration results in higher frequencies.

 

On a related note, the physical characteristics of vinyl records caused problems when the music cut had strong low-frequency content. Equal-loudness (or Fletcher-Munson) curves show how our ears respond to different frequencies, and they show that low frequencies require higher power for the same perceived loudness. On a vinyl record, louder means bigger hills and valleys for a frequency in the groove. When these hills and valleys get too big, the groove has to be very wide, meaning less real estate on the disk (and therefore less time per side), and there is an issue of the needle jumping out of the groove from a big bump. These problems were addressed in the 1950s with the creation of the RIAA curve and its equivalents. The RIAA curve is a specific filter that reduces low frequencies and boosts high frequencies when a laquer is cut, and upon playback, a phono preamp has a compensation filter to return the frequency balance to normal (though it's not perfect).

whoa complicated (have to some of it later)
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I'm going to assume you aren't being sarcastic and respond to this.

 

*Excellent explanation*

Thanks for the excellent explanation.

I wasn't being sarcastic, it's just something I struggle to understand. I little too complicated for my brain to take in :( Like phones, I just except it :lol:

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[snip excellent explanation]

I think it's worth adding that at some point (in the 60's I think[1]) they had a bright idea as to how to include stereo sound in records: one track is encoded in the displacement of the groove parallel to the record, the other in the displacement perpendicular. This meant that old record players could still read one track of stereo records (the parallel one), though given that bands back then went a bit overboard with stereo (a few Beatles' songs have all the vocals right over to one side, for example) that must have been slim consolation.

 

[1] edit: nope. 1958.

 

edit no. 2: It seems I was talking a fair bit of crap above. In fact the stereo records were such that a mono player would output the combined left and right channels. See here.

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I really dont think that you would want to take mp3 and convert it to vinyl unless of course you are just trying to mix shit. largely because analog has better sound quality and if you were to do this (as an expensive process as it sounds) you have to be carefully as to what type of vinyl (production wise) you use as this can also effect sound quality. anyhow...i would just try to get what ever you want in vinyl (i assume this is the problem though). hope this helps in some way

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I have a solution for you...hybrid turntables :clapping:

 

 

 

 

Numark's hybrid turntable (about $1000 a piece)

http://www.numark.com/index.html?http://ww...rview&n=143

 

Gemini's hybrid turntable (I got a pair for $1000)

http://www.geminidj.com/cdt.html

 

I fucking love this turntable (gemini). It has a cd player on it and an interface that allows you to manipulate it exactly like vinyl...because it is vinyl! Read the links for explanations. So i am posting on the tech forum on ideas about production for this. The possibilities are infinite. Maybe scratching famous speeches or beat juggling psy trance (that would be out of this planet hehehe)

 

Now I just need a good mixer...no DJM800 though :unsure: That one is my favorite!

 

-AJ

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yessir i found another link that will be helpful...

 

vestax VRX-200 (vinyl cutter)

http://www.vestax.com/v/products/recorders/vrx2000.html

 

I don't have one :( and I don't know if its legit. Vestax is one of the best turntable & mixer companies in the world though...

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yessir i found another link that will be helpful...

 

vestax VRX-200 (vinyl cutter)

http://www.vestax.com/v/products/recorders/vrx2000.html

 

I don't have one :( and I don't know if its legit. Vestax is one of the best turntable & mixer companies in the world though...

that's exactly what I meant with the term "etching machine" :)
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yessir i found another link that will be helpful...

 

vestax VRX-200 (vinyl cutter)

http://www.vestax.com/v/products/recorders/vrx2000.html

 

I don't have one :( and I don't know if its legit. Vestax is one of the best turntable & mixer companies in the world though...

Records cut on one of those would only be intended for 2 or 3 plays. They wear out quickly. Commercial vinyl is produced by a stamp using a different type of material.

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Records cut on one of those would only be intended for 2 or 3 plays. They wear out quickly. Commercial vinyl is produced by a stamp using a different type of material.

Ah ok that's good to know. I use gemini cdt-05's so its the same record and no needle on it needed. very cool stuff :)

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