Vinyl manufacturing

We prefer high-resolution WAV files – the most optimal resolution and format for us is for you to provide a continuous WAV file per side at 96kHz/24-bit (we support audio up to 192kHz/32-bit). If the recording is also to be released on CD, it is best to work at 88.2 kHz, for example when digitising analogue tapes or recording the band, and then remaster at 88.2 kHz for easier and more accurate downsampling to CD resolution later on.
Of course, we also accept 44.1/16 DDP file sets with PQ encoding corresponding to visual track markers (VTM). It does not matter whether two sets of DDP files are provided for sides A and B or one combined DDP master with all tracks (preferably). In general, a detailed PQ sheet clearly indicating the track distribution between each side (SIDE A, SIDE B, for example) is sufficient documentation for us to correctly insert the VTMs into our mastering software. 44.1/16 audio resolution should be sufficient to produce good quality vinyl records, but high-resolution sources have several advantages.
Please add MD5 checksum codes for all DDP files (or audio files) and group all files into a ZIP archive to facilitate FTP transfer.

Most of the time, the mastering process at MPO is carried out as a ‘flat cut’ – unless otherwise specified in the order form (where the client must clearly specify the changes they wish to make to their master). The term ‘flat cut’ means that there are no radical changes to the audio provided. We assume that the customer wants the discs to be manufactured with the same sound as the one they provided us with, which is why we try to stay as close to the source as possible, given the technologies available.

We offer either a LOUD CUT or a STANDARD CUT, rather than using terms such as loud and standard ‘mastering’, simply because this combination of words can be confusing for some people. We do not offer ‘loud mastering’ in terms of peak limiting, compression, use of maximisers, etc. Similarly, we do not make any additional improvements to the sound of your recording for the standard cut price you may have received from our sales department.

You can send us audio files with peaks close to 0 dBFS, but not too close to 0 dBFS. Leave a little leeway, perhaps 0.1-0.5 dB. We have sufficient additional headroom for D/A conversion in our vinyl mastering software, which sends audio signals to our cutting lathes via PrismSound Orfeus converters. However, it is best not to use hard limiters (brickwall, peak limiters) to any great extent. We need to reduce the cutting levels if there are a lot of limited sections in the audio provided.

A good safe dynamic range is around DR12 (see the table at the bottom of the Pleasurize Music Foundation web page), but if the mixing and (pre)mastering are good, it can reach DR8 for some genres. Any sound consistently above -8 dB RMS (which is not the same as DR values, but close) should be considered as having a reduced dynamic range, and certain problems can be expected when it is controlled as a LOUD CUT. Preparing this type of compressed audio for cutting takes more time. This often results in a compromise between volume and sound quality.

There is no direct connection between the analogue levels of vinyl records and the digital levels of audio files, CDs or DAT tapes. The audio files, CDs and tapes provided are analysed independently of other tracks and the optimal parameters are defined according to the requested disc format (7’“ / 10”’ / 12” x 33 rpm / 45 rpm) and the characteristics of the audio provided: playing time (per side), frequency spectrum and dynamics, bass and high frequency content, stereo width, etc. When mastering vinyl and cutting discs for production, there is always a trade-off between sound volume (cutting levels) and sound quality (distortion, high frequency clarity).
When playing a record, you can always increase the volume of the amplifier by turning the knob to higher values or moving the volume slider up, but – unfortunately – there is no ‘distortion reduction’ knob/slider. The final intensity of the sound heard on a disc also depends on the sensitivity of the cartridge and the settings of the entire signal path between the turntable and the amplifier.

Essentially, this is a similar issue to that of MP3 sound quality in the digital world. MP3 audio files encoded with higher kbps options (192, 256 or even 320 kbps) will sound significantly better than those encoded with lower kbps options (128 or 160 kbps). The reason for this is that the MP3 decoder can benefit from a greater amount of sound information per second stored in high kbps MP3 files. Vinyl records (and magnetic tapes as well) sound better when played at higher speeds. The higher the rotation speed, the more vinyl passes under the stylus per second. As a result, we get a more accurate reproduction of the sound stored in the grooves.
From a scientific point of view, the longer wavelengths, smaller angles in the grooves and less complicated geometry at 45 rpm help us to cut very precise grooves, even in the finest details. In addition, conical and elliptical styluses track the grooves better at 45 rpm, resulting in less distortion within the grooves (pinch effect distortion, horizontal and vertical tracking 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, for example audiophile 2LP editions at 45 rpm with up to 15 minutes per side. To achieve the best possible sound quality, we recommend ordering discs engraved at 45 rpm.

We perform several cutting simulations to find the optimal settings for your audio source. In some cases, the mastering software alerts us to potential problems with 33 & 1/3 rpm records or shows better results in terms of sound quality for 45 rpm records. Based on these analytical results, we will recommend that you consider switching to 45 rpm. Please refer to the question above for more information.

Yes, it is possible to choose a larger spacing between the tracks, but only when the reading length of the disc is not too long. In general, it is preferable to finish burning on the highest radius – due to the physical principle of mechanical recording, whereby burning and, above all, reading conditions deteriorate as the linear speed decreases towards the centre of the disc.

Not directly. Low frequencies affect deflection (maximum amplitudes) and it is not possible to increase deflection beyond certain limits. Of course, if the spacing between the grooves were very small, the deflection would have to be smaller, which would reduce the low frequencies. See also the following answers.

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

All analogue tapes supplied must include several sine wave calibration signals: 1 kHz at 0 dB as a reference level, as well as 60 Hz, 1 kHz and 10 kHz tones at -20 dB, all recorded on the same recorder and tape as the music. In addition, the Dolby test tone/noise, if applicable. The duration of each tone must be at least 15 seconds – we recommend 30 seconds. These calibration tones must be present at the beginning of each tape, followed by a short pause, also 30 seconds, then the music can begin in the complete sequence with all the necessary pauses (silence) or without them – in the way you want the audio to be cut for your vinyl production.

DMM (Direct Metal Mastering) plate processing – this is a process that involves using steel plates coated with a thin layer of copper to cut the grooves. The subsequent galvanic process is not as complicated as for lacquers, and we can manufacture pressings directly from these DMM plates.
Lacquer processing – this is the process we recommend and carry out. Lacquers are used to cut your grooves. You can also send us your own lacquers ready for cutting. The lacquer processing procedure is more complicated than that for DMM and involves a very risky three-step galvanic process. We have to make an original, then a master, and then pads can be produced. Due to the complexity of the process, there is a small risk that the lacquer may be damaged, which would mean that a new lacquer would have to be cut to make the stamps. Due to the complexity of this procedure, we cannot guarantee perfect results for every lacquer and it may be necessary to pay for and produce another lacquer.

7‘ – 40g
10’ – 110g
12‘ – 140g or 180g

Please note that the 7’ standard can be manufactured with a small or large hole in the centre (jukeboxes).

If you would like to opt for coloured vinyl, there are several colours to choose from. We manufacture coloured discs using transparent or solid colours (see the gallery below).
It is also possible to add granules of a different colour to any colour (including black) to produce a ‘marbled’ or ‘speckled’ effect. If you are using a solid colour, we recommend using solid speckles if you want to achieve a speckled effect. Using a mixture of transparent and solid colours can result in poor overall sound quality on the disc.

The quantity is the number of discs you would like us to press. The minimum quantity of vinyl discs we will press is 300 units. Please note that there is a possible production tolerance.

Pour autant que le produit commandé par le client soit un disque vinyle de n’importe quelle taille, type, etc., la différence entre la quantité de produits commandée et la quantité effectivement livrée sera de plus oui moins 10% pour les commandes allant jusqu’à 1000 unités.

Unfortunately, this is not the case. The labels are made from a special matt material and undergo a special preparation process. After printing, the labels are baked to remove any moisture and are then pressed into your discs at the same time as the discs themselves.

Yes, it is possible, but we do not recommend it. Furthermore, management fees will apply.