Mixing and mastering for vinyl

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bitflipper
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2012/04/13 11:08:48 (permalink)

Mixing and mastering for vinyl

I'm just wrapping up an album project that I'm mixing and mastering, which will ship off to Disc Masters in about two weeks. I've now been informed that it will also be released on vinyl in Europe, where I'll have no involvement other than presenting them with the final premaster. This is a new experience for me, so I've been reading up to see if there is anything special I need to do beyond the obvious (e.g. filtering subsonics).

I came across this article from Recording Magazine, which offers the following bizarre advice:


The number one thing to remember when you are mixing down for vinyl is that the L-R and L+R signals are being separated off, and you want to keep as little unneeded information on the L-R channel as possible. This means you want to try and keep everything identical between channels.


I am stumped by this advice. It sounds like they're recommending a narrow stereo image. I've never heard of this before. Anyone have experience mixing for vinyl who might have an explanation or other thoughts?






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    Rimshot
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    Re:Mixing and mastering for vinyl 2012/04/13 11:36:55 (permalink)
    bitflipper,
    The only album I participated in the mastering was Sue Saad & The Next.  There was no such recommendation at all when working with our remix engineer Bill Schnee and the mastering engineer Doug Sax.  I worked with Bill Schnee on the mixes and Doug Sax with mastering.  They are both monsters in their fields. 

    Here's an excerpt from an article on Bill:
    http://www.computeraudiophile.com/content/Grammy-Winning-Engineer-Bill-Schnee-Talks-Computer-Audiophile-Part-1

    Then there are veteran engineers like Doug Sax, Al Schmitt, and Bill Schnee who've been perpetually honing their craft longer than some of today's engineers have been walking. Al Schmitt has seven Grammys for Best Engineering working with artists like Henry Mancini, Steely Dan, Natalie Cole, Quincy Jones, and Diana Krall. Doug Sax has mastered some very significant albums for artists including Sonny Rollins, Bill Evans, Pink Floyd, Diana Krall, and Ray Charles. Producer, engineer and mix master Bill Schnee has been nominated for eleven Grammys, winning twice for Steely Dan's Gaucho and Aja. Additional hardware lining Bill's walls comes from an Emmy Award for Best Sound Mixing for a Variety Special, 85 gold records, 50 platinum projects and 50 top twenty singles. The projects these (who some would call) "old guys" have been part of are arguably some of the most significant popular recordings in recent memory.

    Rimshot 

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