INTO THE GROOVE:
From Genesis to Revolutions-Per-Minute
By
Stephen SPAZ Schnee
What is it about the magic of vinyl that
thrills us? Is it the smell of a new disc? The weight of it in your hands? Or
is it the audio miracle that occurs when the needle settles into the groove?
Writing a song that connects with people takes talent and skill, but that is
only the first step
toward
making a truly great record.
“It’s easy to forget in this era of
multiple format options and endless debates around them that it all begins with
an artist and a ‘record’ button,” Cherry Red Records’ product
manager Richard Anderson explains. “First up is to record,
mix and master the album. But once they’ve handed over a finished master, the
first step is to have the record cut onto a lacquer, which might involve a few
final tweaks to make sure the music accommodates the physical processes
involved in vinyl. It’s then whisked off to a pressing plant and processed
three times to provide a stamper (a metal negative impression of the lacquer). This
stamper is then used to press the vinyl itself.”
Before an album can be mass produced, the
artist and label are given multiple copies of a test pressing, so they can
listen to the vinyl LP before allowing the pressing plant to move forward with
production. So, when an artist or label listens to a test pressing, just what
are they listening for?
“To make sure there are no defects in the
master, such as scratches producing pops and clicks that will be present on
every copy.” Explains Zeek Weekling (aka Bob Burger, The
Weeklings). “Also, to make sure the mastering process has not
distorted the sound in an
undesirable
way.”
“I’m listening for overall EQ and how it
compares to the master that it was cut from.” Says Kurt Reil (The Grip Weeds).
“I’m also listening for overall volume levels to make sure it’s a decent cut
and not too low.”
Once the test pressing has been approved,
the album is given the green light at the pressing plant. The stamper is
readied and all systems are go. Richard Anderson explains the next few steps in
the album’s journey: “The stamper is used to press the vinyl itself, which is then
packed up, put into sleeves, shrink-wrapped and, usually, shipped off to a
distributor. From there it’ll be shipped out across the world – if you’re
lucky. If you’re not so lucky, it’ll sit there unsold for a year until the
storage charges demand that you have it all shipped to your mum’s house and
stored in her garage.”
Along with a standard black vinyl
pressing, a label may press limited quantities on colored vinyl and picture
discs, which always attracts interest from fans and collectors. Gatefold
sleeves and heavyweight 180gm vinyl are desirable to collectors as well. Labels
have even gone back to their old practice of adding posters, inserts, and
stickers – along with CD pressings and/or digital downloads – making vinyl
purchases even more attractive to fans than ever before.
But compared to 30 years ago, is the
quality of the vinyl itself any better today?
Kurt Reill: “Heavyweight vinyl is great
because it’s very quiet. So pops, clicks, and crackles are at a minimum with a nice
pressing.”
Veteran singer/songwriter Henry Priestman (Yachts, The Christians, solo)
agrees that vinyl LP pressings in this day and age are better than they were
decades ago: “Definitely more care is taken with them. There was a period in
the ‘70s when some shocking pressings came out. I remember buying a UK RCA
pressing of Lou Reed’s Rock ‘n’ Roll Animal in
1974, and you could almost bend it in half without it snapping!”
Michael Simmons,
who teaches a high school music class when not writing, performing and producing,
seems to agree: “Regular old records feel ridiculously flimsy to me now!
Thicker vinyl means more mass, which means less chance of warping, a lower
noise floor, more durability, and darnit if they just don’t feel REALLY GOOD in
your hand.”
“The quality of vinyl in the 1980s was, to
be honest, dire.” Adds Peter Jachimiak,
Senior Lecturer in Media & Cultural Studies at the School of Media,
University of South Wales. “And,
considering
that this was the dominant format of that decade, that was a poor show on
behalf of the record industry. At least vinyl releases in this day and age have
a certain ‘durable’ quality about them – both the vinyl itself and the sleeve,
inserts, etc.”
Speaking of album sleeves, long before MTV
made visuals more popular than the actual music, the album art attempted to
tell the story of the sounds contained within. Whether staring at a stream of
light shining through a prism, or four Liverpudlian musicians crossing a street,
the record buyers’ imaginations were inspired by visuals even before they heard
a single lick of music.
“Most of our artists are quite hands-on
with their artwork,” declares Anderson. “So between them and their designer, we
tend to leave them to it, unless asked to become involved. We oversee the artwork
as it progresses, of course, and from time to time make contributions, but we’re
fortunate in that most of our artists have been around a while and know how
they want to
present
their music.” Anderson continues, “A good sleeve can sell a bad record and a
bad sleeve can hide a good record. I know that I’m often swayed by packaging
when weighing
up
whether to buy one of two albums in a record shop, and believe we need to keep
that in mind when we (Cherry Red Records) can.”
“Coming from an art school background I
think the artwork/presentation is crucial.” Henry Priestman says. “Is it a coincidence
that most of my favorite albums – musically – are also my favorite covers?”
Combining the album’s packaging with the
music doesn’t create a piece of product – it becomes a work of art. Music is
not meant merely for listening – it is an audio painting that forms an image in
your mind. The listener becomes an active participant; they are the ones holding
the LP sleeve, placing the needle on the record and interpreting what the
artist is saying. And while no two interpretations are the same, hearing the
warm tones of a vinyl LP pressing is still the best way to absorb and
understand the artist’s true intention.
From a Chipmunks
LP to Metallica’s Master
of Puppets (and everything in between), each
vinyl release has a back story that is oft-overlooked once the shrink wrap has
been removed and the record is spinning on the turntable. For some listeners,
an album’s long history makes no difference – the real journey begins the
moment the music starts. At that exact moment, that LP’s origin ends and a new
journey begins with the listener. When the record spins, nothing else seems to
matter. And that is exactly how it should be.
Special thanks to:
Nick Kominitsky, Richard Anderson, Zeek Weekling, Kurt Reil, Henry
Priestman, Michael Simmons, Peter Jachimiak, and Nathaniel Cerf
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