Chords for For The Record: All-Analog Mastering

Hey everyone, I'm Johnny Rock.
I'm a drummer and a producer and my new album is called Johnny Rock and Friends for the record
It's a vinyl LP my friends and I [Ab] recorded and mixed entirely [Eb] on analog tape
We also [Gb] used an entirely analog mastering process to cut the [Ab] records _ _
_ _ _ _ _ [Gb] The term mastering gets thrown around a lot when it comes to music, but [Ab] not a lot of people know what it is in short
[Bb] Mastering is the last step in the creative process
After all of the songs [C] have been recorded and mixed you put them in the correct order
[D] Balance the volume and tones between the songs and create a finished master recording and from that you can [E] make copies
[Bb] Our master recording will be two lacquer discs [C] that will be used to make metal stampers one for each side [D] of the record _
_ We'll be cutting our masters using the original mixdown tapes
So the first step is getting all the [Bb] songs in the proper running order and making sure the gaps in between [C] songs are just right
_ Using a computer [D] this part is easy, [Bb] but our source is tape [N] so we have to do it by hand
_ _ _ To create space between the songs I carefully measure and splice in what's called leader tape
_ Leader is made of paper or plastic so it makes no sound as it passes over the playback head _ _
[B] Leader also serves a visual purpose so we can see where each song starts and ends
_ Once the songs are [Gb] sequenced I take my tape reels to Paul Gold at Salt Mastering in Brooklyn
[Bm] One of the few remaining places where you can [Bbm] cut a record directly from [Gb] analog tape
[Bm] _ _ [E] _ _
Paul's been cutting records for over 15 years and he does most of his own maintenance and repairs
_ _ _ So how do we cut a record?
Well with rare exception a record is cut with one continuous groove from start to finish
Hence each side must be mastered in real time without interruption
For us that's over 20 minutes of music [D] in one fell swoop _
_ Just like [E] our handmade recordings and [Gm] mixes Paul has to physically change [D] the settings on his console as the tape plays into [G] the lathe
_ If any mistakes are made the entire [D] lacquer must be scrapped
This can get very costly and [G] time-consuming
So at our first session [D] Paul begins by playing back our master tapes to listen
[G] Adjust the sound and take notes.
It's a kind of roadmap for the [A] process
_ [Am] With album sides over 18 minutes we risk cutting too far into the disc
With loud or bass heavy [G] content the groove becomes wider.
So the next revolution must be spaced [F] further apart _
The depth of the groove is also [A] affected by differences in the left and right channels
The [E] lathe at Salt Mastering is fitted with a special cutting computer
[C] _ Using a preview of the [F] audio the computer instructs the [Dm] lathe how deep to cut the groove and how wide to pitch [F] the next revolution _
[E] That way no space on the disc is [Am] wasted _
Combined with [E] Paul's expertise our sides [A] are cut as loud as possible [Dm] without reaching the center of the disc _
[E] So how does the computer know what's coming next?
[G] That brings us to the tape machine
[Bb] This particular machine is extremely rare and it's one of three in [F] Paul's arsenal that can facilitate [C] an all-analog record
It's [F] specially fitted with two [D] playback heads and an extended [F] tape path between them _
When the tape passes over the first head [Bb] the preview signal is sent to the computer
_ _ Shortly afterward [F] the tape passes over the second playback head _
This [C] naturally delayed signal ultimately vibrates the cutting [D] stylus [F] while the computer controls the depth and pitch of the groove
[C] Now it's entirely possible to cut a record using a tape machine with one playback [Eb] head, but to use a [Eb] cutting computer
Engineers may choose to send a [D] delayed digital copy of the signal [Eb] to the cutting stylus
In the 1980s this became commonplace and since [C] then it's been replaced by playing a copy of the master tapes from [Eb] a digital workstation
So even if you buy a newly pressed record of an old [G] classic
_ [F] Chances are it's passed through at least [Ab] one digital conversion.
Now great [Eb] sounding records are cut this way every day in capable hands
But [F] to my ears, there's nothing quite like doing it [Cm] entirely analog
[F] The [Ab] _ result of [Eb] Paul's work on day one is what's called a reference acetate
It's the first time [Bb] our music is ever put into groove form [B] and it's amazing to [Cm] watch
_ _ _ [G] _ _ [Dm] _ _
[Eb] The acetate is actually an [Cm] aluminum disc coated with a [G] soft lacquer and it can be played back almost immediately
[Eb] _ It's basically practice for [Ebm] the actual cutting to make sure Paul and I are satisfied with the [Bbm] results
That night I play the acetate back on my turntable at home. _ _
_ [Ab] _ _ _ _ _ _ _
_ [Db] _ _ _ _ _ [Ab] _ _
It sounds great.
Just a few changes to be made _
_ [F] So today is the day today is [D] the day we are cutting
_ lacquers for side A side B [A] for the record
_ _ _ [Bm] _ _
_ _ _ _ [Bb] _ _ _ _
_ [D] _ _ _ _ _ _ _
_ _ _ _ _ _ [Bb] _ _
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[G] _ Once they're done Paul manually inscribes our release number and other text into the dead wax _ _
[E] After that, the lacquers are shipped to gotta groove records in Ohio [F] and there they're [Am] used to make metal stampers that will press around
500 records each
_ After about [B] two months.
I finally [E] received test pressings back from the plant.
_ I
Carefully listen to each pressing listening for consistent artifacts between them
_ [Bm] Ultimately, [Ab] I approved the test pressings [Am] and the only thing left to do and wait for the records to show up
_ So thanks for watching.
This has been a really [A] exciting and immensely rewarding process
I can't wait for the records to arrive if you'd like to check out our music _
Blogs bios videos and more or by the record by now.
Give us a look at Johnny rock [B] record calm
We'll see you soon rock on
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