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807Recordings · 13th January 2007

I have cut two records with Nilz at The Exchange. Both files where sent in at 24bit 96Khz though the next 12" might come off 1/2 " tape. Either way, on the mix-down (master files) I did not use a limiter. I made sure to leave some head room to about -6dBs and an average of about -10dBs RMS. We cut both side of the release at 45RPM and understood the 6min guide line for time. This is analog so you have to respect the laws of mixdowns. Also because a large part of my audience and especially the people who will buy the records will play it on extreme club systems and PA's there was no need to make the release louder but rather let the dynamics flow. Countless times I have proven this theory with test pressings and dub-plates of the music we do. Every-time one of our tracks came on against the squashed stuff by most producers who listen far too much to pop radio guys our stuff just got deeper, louder, and fuller sounding. Know your audience!!!!

Other things I kept in mind when producing the music was to keep things like low drum kicks in mono, not make the mix too bright but also not over eq stuff. Many good mix engineers already know this who worked in the analog domain though this art is getting lost a bit. Either way even if going digital for home theatre markets or whatever with mono subs its still a good idea.

Also who you do your final pressings with will make a huge difference in the final product. We chose Pallas in Germany and by far its the best vinyl I have made to date. 180g dead silent stuff. And yes the bass at 45RPM is just insane so that whole cutting at 33 1/3 is not always a rule. On a side note the mastering engineer did a slight eq on the bass so the RMS became closer to -14dBs and the vinyl is louder than most other records I play it against but with lost of space between it. It is funny when we took it to stores watching the look on buyers an dj's faces when they heard how much more bass and volume there was against the other crap out there. Often they had to turn the mixer down and flatten the EQs. Each time though everyone had a smile on their face. ;-)

Edit:
Know the rules, choose the right engineer, shit in shit out. Keep in mind that vinyl and most analog music is a labour or passion of love. You get what you put in but in some ways it like painting. If you do not know your brushes, paints, and textures when you go to your canvas you won't create anything great or even decent that you can snap together in photoshop. If you do your homework and search your steps and products then a great work of art can be created.

13th January 2007	#45
807Recordings Lives for gear Joined: Dec 2006 Location: Dresden, Deutschland Verified Member	I have cut two records with Nilz at The Exchange. Both files where sent in at 24bit 96Khz though the next 12" might come off 1/2 " tape. Either way, on the mix-down (master files) I did not use a limiter. I made sure to leave some head room to about -6dBs and an average of about -10dBs RMS. We cut both side of the release at 45RPM and understood the 6min guide line for time. This is analog so you have to respect the laws of mixdowns. Also because a large part of my audience and especially the people who will buy the records will play it on extreme club systems and PA's there was no need to make the release louder but rather let the dynamics flow. Countless times I have proven this theory with test pressings and dub-plates of the music we do. Every-time one of our tracks came on against the squashed stuff by most producers who listen far too much to pop radio guys our stuff just got deeper, louder, and fuller sounding. Know your audience!!!! Other things I kept in mind when producing the music was to keep things like low drum kicks in mono, not make the mix too bright but also not over eq stuff. Many good mix engineers already know this who worked in the analog domain though this art is getting lost a bit. Either way even if going digital for home theatre markets or whatever with mono subs its still a good idea. Also who you do your final pressings with will make a huge difference in the final product. We chose Pallas in Germany and by far its the best vinyl I have made to date. 180g dead silent stuff. And yes the bass at 45RPM is just insane so that whole cutting at 33 1/3 is not always a rule. On a side note the mastering engineer did a slight eq on the bass so the RMS became closer to -14dBs and the vinyl is louder than most other records I play it against but with lost of space between it. It is funny when we took it to stores watching the look on buyers an dj's faces when they heard how much more bass and volume there was against the other crap out there. Often they had to turn the mixer down and flatten the EQs. Each time though everyone had a smile on their face. ;-) Edit: Know the rules, choose the right engineer, shit in shit out. Keep in mind that vinyl and most analog music is a labour or passion of love. You get what you put in but in some ways it like painting. If you do not know your brushes, paints, and textures when you go to your canvas you won't create anything great or even decent that you can snap together in photoshop. If you do your homework and search your steps and products then a great work of art can be created.