FAQ

These are manufacturing terms describing the process of transferring your music onto a final master plate called either a DMM plate or a lacquer. Mastering in GZ consists of checking the supplied audio master, making some basic changes and corrections to accommodate the audio for the target vinyl medium and finally, the master cutting process which results in a master plate containing sound grooves.

More info - Mastering webpage.

We prefer high-resolution WAV files – the most optimal resolution and format for us is if you provide one continuous WAV file per side at 96 kHz / 24-bit (we support audio up to 192 kHz / 32-bit). If the release is also going to be released in CD format, then it is better to work at 88.2 kHz, e.g. to digitize analogue tapes or record the band and re-master it at 88.2 kHz for easier and more accurate downsampling to a CD resolution later.

Of course we also accept 44.1/16 DDP file-sets with PQ-encoding matching to visual track markers (VTMs). It doesn't matter if two DDP sets are supplied for the A and B sides or a combined DDP master with all tracks (preferred). Usually, a detailed PQ sheet with clearly marked track splitting between each side (SIDE A, SIDE B, for example) is sufficient documentation for us to properly insert VTMs in our mastering software. 44.1/16 resolution audio should be sufficient for the production of vinyl records with good sound, but there are several advantages of high-res sources.

Please add MD5 checksum codes for all DDP files (or audio files) and pack all files into one ZIP archive for easier FTP transfer.

Most of the time, the mastering process in GZ is realized as a “flat cut” - unless specified otherwise in the order form (where the customer must clearly specify the changes they want to be done with their master). "Flat cut" means "no radical changes in the supplied audio". We assume that the customer wants to have the records manufactured with the same sound which they supplied to us, so we try to be as close to the supplied source as allowed by available technologies.

We don't carry out any “audio mastering” for most titles. Meaning, we don't try to improve the sound, create the best sounding or loudest record ever. These are very subjective tasks and sometimes our engineers have a different opinion than our customers (the band, the singer, the producer etc...) which would cause for more negotiation between the customer and the studio. We are not as specialized with these tasks as dedicated audio mastering engineers are, but we can make changes to a certain extent – with some customers, we have an agreement to make more changes. Generally speaking, 95% of all titles are cut for the best possible playback of the supplied audio. If you specify what changes you want us to do to your audio files, we can make these changes and save modified wav files to a folder on your FTP account, so you can listen to these new files and accept or reject these changes prior to cutting. Of course, there is an additional fee for this service.

The price quote should include a standard pre-mastering process as well as the cutting of copper plates – which is the last (technical) part of vinyl mastering. The first part of the vinyl mastering process is checking your audio files in our new vinyl mastering software and running cutting simulations several times to determine the most optimal cutting settings for you audio files without too many changes being made to the sound. Our goal is to use only the most necessary corrections in order to carry out a better cut, minimize the risk of distortion and allow for the best frequency response in the widest range of audible frequencies. Such checking and processing is enough for almost all our customers.

We offer either a LOUD CUT or a STANDARD CUT rather than using terms like loud and standard "mastering", simply due to the fact that this combination of words can cause confusion for some people. We don't offer "loud mastering" in terms of peak-limiting, compression, using maximizers etc. Also, we don't make any additional improvements to the sound of your recording for the standard cutting price which you may have received from our sales department.

A cutting engineer will usually use some kind of low-cut filters (20-40 Hz), elliptical equalizer (100-300 Hz), high-cut filters (above 16 kHz), de-essers or high freq. compressors for problematic signals – even for standard cuts. We use them more often for loud cuts – low-cut filters to avoid the risk of skips due to large horizontal amplitudes, elliptical equalizers to avoid too deep grooves (vertical amplitudes), both of them to be able to fit the audio on one side better because the higher cutting level means more loudness, higher amplitudes and more space consumption. Louder high frequencies can cause problems with distortion, sibilants and also with high currents and temperatures in our cutting head which can lead even to burning of the head.

All the above-mentioned processes should only be used when really needed and should not lead to radical changes to the sound of the supplied audio. For the LOUD CUT option, we go with the cutting level above the safe values as suggested by the simulation of our new vinyl mastering software. We set up the cutting parameters for a trouble-free LOUD cut to have non-distorted grooves on the master plate. However, on the playback side there can appear problems for the playback stylus to track these too complicated loud grooves, esp. for conical or worn tips.  Because of this, every customer has to be aware of the limited possibility of claims for LOUD cuts and should always order test pressings first.

See screen-shots in our gallery dedicated to the new mastering system.

You can send us audio files peaking near 0 dBFS, but rather not very close to 0 dBFS. Leave some small headroom there, maybe 0.1-0.5dB. We have enough additional headroom for D/A conversion in our vinyl mastering software sending audio signals to our cutting lathes through PrismSound Orfeus converters. But it is better not to use hard-limiters (brickwall, peak limiters) to a great extent. We have to reduce the cutting levels if there are a lot of limited sections in the supplied audio.

A good and safe dynamic range is around DR12 (see the bottom table at Pleasurize Music Foundation webpage), but if mixed and (pre-)mastered well, it can be up to DR8 for some genres. Any audio constantly above -8 dB RMS (not the same as DR values, but similar) should be considered as audio with reduced dynamic range and some problems can be expected when ordered as a LOUD CUT.  It is more time consuming when preparing such compressed audio for cutting. It often results in some kind of a compromise between loudness and sound quality.

There is no direct connection between analogue levels on vinyl records and the digital levels of audio files, CDs or DAT tapes. The supplied audio files/CDs/tapes are analyzed independently from other titles and optimal parameters are set according to the requested format of records (7'' / 10'' / 12'' x 33 rpm / 45 rpm) and characteristics of supplied audio:  playback time (per side), frequency spectrum and dynamics, low and high frequencies content, their stereo width etc. During vinyl mastering and cutting plates for production of records,  there is always some kind of a compromise between loudness (cutting levels) and sound quality (distortion, clarity of high frequencies).

When playing back a record, you can always increase the volume on the amplifier by turning the knob to higher values or move the volume fader up, but – unfortunately, there is no “reduce distortion” knob/fader. The final loudness of sound heard on a record also depends on the sensitivity of the playback cartridge and parameters of the whole signal path from the turntable to the amplifier.

Basically, it is similar to MP3 sound quality issues in the digital world. MP3 audio files encoded with higher kbps options (192, 256 or even 320 kbps) will sound significantly better than the ones encoded with lower kbps options (128 or 160 kbps). The reason is that the MP3 decoder can benefit from more sound information per second stored in the higher kbps MP3 files. Vinyl records (and magnetic tapes as well) sound better if higher speeds are used. The higher the rpms, the more vinyl that passes under the playback stylus per second. Therefore, we gain more accurate reproduction of the sound stored in grooves.

Scientifically speaking, the longer wave-lengths, the smaller angles in the grooves and the less complicated geometry at 45 rpm help us to cut very precise grooves with even the finest details. Also, the conical and elliptical playback styli track grooves better at 45 rpm – resulting in less inner groove distortion (pinch effect distortion, horizontal and vertical tracing distortion etc.). Due to the higher rotation speed, the available playing time per side is reduced at 45 rpm which often results in double albums, e.g. 45rpm audiophile 2LP editions with up to 15 minutes per side. For the best possible sound quality, we recommend ordering records cut at 45 rpm.

We run several cutting simulations in order to find the optimal parameters for your source audio. In some cases, the mastering software either will warn us against potential problems at 33 & 1/3 rpm or displays better results regarding to the sound quality at 45 rpm. Based on these analytical results, we will recommend that you consider changing to 45 rpm.  Please refer to the question above for more information.

Yes, it is possible to choose higher groove spacing but only when the playback length of the record isn't too long. Generally, it is much better to end the cutting on the higher radius – due to the physical principle of mechanical recording that the conditions for cutting and especially for playback are getting worse with lowering linear velocity towards the middle of the record.

Not directly. The bass frequencies affect the deflection (max. amplitudes) and it is not possible to increase the deflection over some limits. Of course, if there was very small groove spacing, the deflection would have to be smaller so there would be less bass frequencies. See also the next answers.

The division of audio over two sides of a vinyl record is most efficient when both sides are of the same (similar) playback length – supposing that the recording contains the same revolutions on both sides and that the audio tracks are of a similar level, frequency and dynamic range. The groove processor module in our mastering software continuously evaluates the audio signal and controls the groove spacing and depth in such a way, so that the individual grooves are not touching each other and that the stylus is reliably guided in the grooves.

The space consumption depends on the frequency spectrum of the cut signal, its dynamics and its width of stereo-base. Therefore, it is very important to pay special attention to the recording of instruments and vocals, as well as the mixing and (pre)mastering processes of all tracks supposed to be pressed into a vinyl record.

When the playback length of the side for the ordered format is out of the recommended values, it is necessary to lower the cutting level – the record will be quieter. However, short playback length doesn't mean that it is possible to increase the level over technical limits, which arise from groove geometry, parameters of the playback systems and limiting values of the cutting device.

The stylus stability doesn’t depend on the groove spacing. The groove width has to be set up properly so that the playback stylus is well guided throughout the whole groove in every point and that two touching points of the stylus tip lay on the groove sides and not on the groove edges. For regular music and a properly calibrated turntable, this condition is fulfilled with the basic groove width of 0,04 mm using a common conical stylus with a radius of 0,017 mm. The wider (deeper) grooves don’t automatically mean better stylus guiding or higher loudness during playback, but only more space consumption, i.e. the last track will end on lower diameter where more distortion is present on principle. Records intended for scratching/juggling and with very hot cutting levels are exceptions to this as they can benefit from wider (deeper) grooves since the playback stylus will stay longer in the grooves when the records are being handled in a non-standard way – during scratching, extreme amplitudes in grooves create high deflections causing instability of the stylus. Please note that a lot of distortion of various kinds will appear in the case of very loud records.

PLEASE REMEMEBER: “The vinyl record was developed as a carrier of mechanical analogue recordings of natural sounds. It is predetermined for listening to this recording by means of an amplitude linear playback chain at a uniform revolution at nominal speed in a clockwise direction. Therefore, the problems caused by any other use of a vinyl record cannot be subject to claim.”

During common playback, a lateral force rises on groove sides due to the stylus drag. This force tries to lower the immediate deflection and to put the stylus back to its quiescent position. On the contrary, during backward playback, this force tries to increase immediate deflection of the stylus and the force increases with higher deflection even more. It can lead to the loss of contact between the stylus and one side of the groove up to the point when the stylus leaves the groove completely – irrespective of the groove width or spacing. The stylus yawing depends mostly on the lateral rigidity of the playback system and the value of attrition inside the groove. The attrition increases with the segmentation of groove sides, so it depends mainly on characteristics of the cut signal. If the stylus tip is worn out, there are small flat places on it, and the attrition increases rapidly.

It is not easy to summarize the results of more than 130 years of research and development of mechanical recording technology in just a few sentences. It is also difficult to replace schoolbooks of mathematical, physics, musical science, sound physiology and other related branches where the top level sound engineers gather their information from, trying to achieve the best possible sounding results.

This much can be said: It is necessary to prepare the recording in the way so that it doesn't include components not contributing to the subjective perception during playback. Also, it is important to respect all the specific characteristics of mechanical recording technology from the beginning of the entire process. It's all just about finding the appropriate compromise among several, often contradictory, demands.

There are 2 ways for us to process your analogue tapes:

1) The first possibility is for us to record your tapes into high resolution WAV files (96 kHz 24-bit) using our PC workstations, PrismSound Orfeus A/D converters and tape players. Then we can use all the new features and possibilities of our new mastering system with simulations and in-depth analyses of the supplied audio for setting up optimal cutting parameters. With this option, we can use the high-quality digital back-up files for any possible re-issues in the future. You can choose either the DMM VMS-82 lathe or our lacquer VMS-70 lathe for cutting of master plates using this method.

Please note that there is an additional fee of 50 EUR for this service (25 EUR per side).

2) We are also able to cut DMM plates in an all-analogue form without any A/D and D/A conversion.

We will use our Telefunken M15A 1/4-inch reel player with playback and preview heads + Neumann SP79 mastering console + Neumann SAL 84 rack + Neumann VMS-82 DMM cutting lathe. As you can see, no digital delay line and no converters.

It is necessary that the audio recorded on the supplied tapes is properly pre-mastered for vinyl. Compared to our new mastering system with PC workstations, the old analogue method with SP79 consoles (the best in their years) is limited with regard to the functions and possibilities of changing parameters for cutting and correcting of an audio source.

The additional fee for the all-analogue cutting option is 200 Euro for both sides (100 Euro per side),  assuming that the tapes are correctly pre-mastered for vinyl and contain all necessary calibration signals. In addition, complete documentation with track times is needed and all tracks have to be recorded one after each other (no rewinding or skipping is possible during the cutting process). Gaps between tracks for visual track markers are not necessary as we will place VTMs according to the tracklist.

We accept only 2-track 1/4" analogue tapes with speeds 38 cm/s or 19 cm/s (15 ips or 7½ ips), EQ CCIR or NAB, noise reduction Dolby A or Dolby SR.

All supplied analogue tapes have to include several sinus calibration signals: 1 kHz at 0 dB as a reference level tone and also 60 Hz, 1 kHz and 10 kHz tones all at -20 dB, all recorded on the same recorder and tape as the music. Also, Dolby test tone / noise if applicable. The length of every tone should be at least 15 seconds – we recommend 30 seconds. These calibration tones should be present at the beginning of every tape, then a short pause, say 30 seconds as well, and then the music can start in the complete sequence with all the necessary pauses (silence) or without them – however you wish to have the audio cut to your vinyl production.

Yes, we can engrave any short message you would like into the run-out area. Please note that the engravings are done with an engraving machine and not by hand. A matrix number is also automatically engraved into this area for every copper plate and lacquer mother,

DMM plates processing (Direct Metal Mastering) – this is a highly recommended process where we use steel plates with a thin copper layer for cutting the grooves into. The galvanic procedure that follows is not as complicated as the process for lacquers, and we can make stampers for pressing directly from these DMM plates.
More info - DMM plates processing page.

Lacquer processing – this is where lacquers are used for cutting your grooves into. Alternatively you can send us your own ready-cut lacquers. The procedure of processing lacquers is more complicated than DMM and involves a very risky 3-step galvanic procedure. We need to make an original, then a mother, and then stampers can be produced. Due to the complicated nature of the process there is a small chance that the lacquer can get damaged, which would mean that a new lacquer would need to be cut to make the stampers. The complicated character of this procedure means that we cannot guarantee perfect results from each and every lacquer and it may be necessary to pay for and produce another lacquer.
More info - Lacquers processing page.

Size	Standard	Heavy	Picture disc
7"	40g	70g	65g
10"	110g	-	106g
12"	140g	180g	157g

Please note that the 7" standard can be made with a small or large hole in the center (jukeboxes).

If you want to go for colored vinyl, you can choose from several different colors. We make colored records from either transparent or solid colors (see table below).

Solid	Transparent
White (1)	Green (9)
Yellow (2)	Yellow (10)
Red (3)	Red (11)
Orange (4)	Purple (12)
Blue (5)	Blue (13)
Brown (6)	Clear (14)
Light green (7)
Grey/silver (8)

It is also possible to add granules of a different color to any color (including black) to produce a "marbled" or "speckled" effect. We recommend that if you are using a solid color then you should use solid speckles if you want a speckled effect. Using a mixture of transparent and solid colors can lead to bad overall quality of the sound on the record.

More info - Coloured Vinyl page

The quantity is the number of records that you would like us to press. The minimum quantity of vinyl records that we will press is 500 units. Please be aware that there is a possible production tolerance.
Provided that the Product ordered by the Customer is a vinyl record of any size, type, etc., the difference between the ordered and the actually delivered quantity of Products shall not exceed 10% for orders up to 999 units and 5% for orders exceeding 999 units. 

Unfortunately not. Because labels are made of special matt material and going through a particular process of preparation. After printing, labels are baked to remove all humidity and after that are pressed into your records at the same time your record is pressed.

Yes, it is possible – but we do not recommend.