Hey thanks for all your tips and advice guys.
Do any if you mind passing on some ideas of figures i.e. how much one sells on to the distributer for?
Cheers.
Looking for tips on starting a low key vinyl label.
LOL it hasnt happened to me, but it happened to someone i know, (they were drum and bass tunes)lem wrote:lsteevio wrote: test pressings are only supposed to be to make sure theyve put the right tunes on the record, and not someone elses happy hardcore tunes.
happy hardcore? talking from experience bro? lol
p.s. you are not spoiling it for the rest of us.
just givin (more) sound advice.
but Handle with Care once put the wrong labels on one of my releases, they used the labels from my previous release, and i didnt know about it till it was too late, so i had 1000 records with the same label as the last release distributed all over the world, obviously they werent going to sell, they had to be recalled, unfortunately some of them did sell, so some people have a record which has no mention of the remixer who featured on that release and the wrong track titles. causes loads of confusion on discogs.
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pafufta816
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dang that's rough. there's a lot of releases throughout the ages that have mislabelling. i remember reading about a marilyn manson cd single that got mispressed with tracks for some contemporary gospel music on it. some of that stuff becomes collectors items, maybe you could sell them on discogs as rare one of a kind mispresses for 500% their value ; )
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patrick bateman
- mnml maxi
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3.25.
to be honest, I once did a metalwork cut with a mastering studio and had that pressed, and it was shite soundwise.
Now I have the wav mastered and I tell the engineer specifically that it'll go on vinyl, and they take that in account. At the pressing plant, I tell them not to fiddle with it and cut the tracks as we deliver them, and it sounds exactly how I want it to sound. Since we work that way I'm really very happy about the way our vinyls sound and so are the artists.
Just to say: there's not really a gospel when it comes to this. I know many "purists" will tell you that you'll need to have the metalwork cut at some fancy (expensive!!!) studio first and then have your vinyl pressed on 180grams vinyl where they cool the machines with water bottled from the Spree. But to be honest: trial and testing out is the only way you'll find something that works for you.
to be honest, I once did a metalwork cut with a mastering studio and had that pressed, and it was shite soundwise.
Now I have the wav mastered and I tell the engineer specifically that it'll go on vinyl, and they take that in account. At the pressing plant, I tell them not to fiddle with it and cut the tracks as we deliver them, and it sounds exactly how I want it to sound. Since we work that way I'm really very happy about the way our vinyls sound and so are the artists.
Just to say: there's not really a gospel when it comes to this. I know many "purists" will tell you that you'll need to have the metalwork cut at some fancy (expensive!!!) studio first and then have your vinyl pressed on 180grams vinyl where they cool the machines with water bottled from the Spree. But to be honest: trial and testing out is the only way you'll find something that works for you.
PsyTox.
Coincidence Records.
www.coincidencerecords.be
www.myspace.com/coincidencerecords
www.myspace.com/djpsytox
Coincidence Records.
www.coincidencerecords.be
www.myspace.com/coincidencerecords
www.myspace.com/djpsytox
just so theres no confusion for the OP.
metalwork isnt actually cut, its grown by electrolysis in a chemical bath at the pressing plant.
what is actually cut is a laquer ( a soft plastic disc ) in the cutting studio.
its is usually safest to have your record cut at a good quality cutting room before it goes to the pressing plant.
the cutting studio can also double as a mastering studio, ive mastered all my releases in the various cutting studios. if your relase has already been mastered before it goes to the cutting studio, then you can ask them not to change it, however they will always make alterations because they have to do things to make it translate to vinyl.
( i dont know this absolutely for sure, but i think that even if your mastering studio has prepared the master for vinyl, they will still make slight changes at the cutting room, they have their ways of doing things !)
they will for instance do a test cut, and if theres any problems like the top end of your track is causing distortion at the cutting head, or the bass is causing problems with the stylus jumping out of the groove they will alter your EQ.
the resulting laquer is then sent to the pressing plant where a negative copy of the laquer is grown, this is your metalwork master.
however this is not used to press the records, as it will wear out with each pressing, what actually happens is another positive and then another negative is grown so that you have a clone of the master metalwork.
this is used to press the records, and when it eventually wears out, they will make another clone of the master to replace it.
this is unlikely to happen unless you do several represses, or a long time passes between press and repress, in which case they will probably have thrown the clone away.
most plants keep your master, but always check because some plants throw them out after enough time has passed, or they might charge you to store it.
if anything goes wrong and the pressings are bad because the electrolytic process doesnt work properly, then you have to re-cut the record because the laquer is destroyed in the process.
the pressing plant will normally pay for this re-cut.
however there are often disputes between the plant and cutting room as to who is at fault, believe me this has happened a few times to me, but ive had alot of records pressed, so its bound to happen at some point.
metalwork isnt actually cut, its grown by electrolysis in a chemical bath at the pressing plant.
what is actually cut is a laquer ( a soft plastic disc ) in the cutting studio.
its is usually safest to have your record cut at a good quality cutting room before it goes to the pressing plant.
the cutting studio can also double as a mastering studio, ive mastered all my releases in the various cutting studios. if your relase has already been mastered before it goes to the cutting studio, then you can ask them not to change it, however they will always make alterations because they have to do things to make it translate to vinyl.
( i dont know this absolutely for sure, but i think that even if your mastering studio has prepared the master for vinyl, they will still make slight changes at the cutting room, they have their ways of doing things !)
they will for instance do a test cut, and if theres any problems like the top end of your track is causing distortion at the cutting head, or the bass is causing problems with the stylus jumping out of the groove they will alter your EQ.
the resulting laquer is then sent to the pressing plant where a negative copy of the laquer is grown, this is your metalwork master.
however this is not used to press the records, as it will wear out with each pressing, what actually happens is another positive and then another negative is grown so that you have a clone of the master metalwork.
this is used to press the records, and when it eventually wears out, they will make another clone of the master to replace it.
this is unlikely to happen unless you do several represses, or a long time passes between press and repress, in which case they will probably have thrown the clone away.
most plants keep your master, but always check because some plants throw them out after enough time has passed, or they might charge you to store it.
if anything goes wrong and the pressings are bad because the electrolytic process doesnt work properly, then you have to re-cut the record because the laquer is destroyed in the process.
the pressing plant will normally pay for this re-cut.
however there are often disputes between the plant and cutting room as to who is at fault, believe me this has happened a few times to me, but ive had alot of records pressed, so its bound to happen at some point.