mastering for vinyl ?

[punkrockacademyfightsong]

guys, i was wondering: does any of you ever do mastering for records that end up being pressed on viny? and are there any thing you pay extra attention to when you master them?
lately i've done a few projects that were pressed on 7" and 10" and at the moment i'm also working on a project that's going to be pressed on vinyl.
I've always heard that you shoul be more carefull with the RMS volume and with the low end.
I can figure you have to keep the peaks kinda "round" at the top, since the needle will follow that better than a more "square" shape. is there anyone who could tell that for sure?
And how about the low frequencies? up to where do you have to be carefull?

thanks in advance, hope this topic could clear some stuff up for me and hopefully help some others here too.

 

[sparkyness]

Bottom end....lathe's don't like too much of it. It can be a delicate process for club mixes which usually have a lot of bottom end going on. I've worked on electronica stuff that was only released on 7" or 12" and made sure to send this stuff out to a mastering guy who specialises in dance white labels to make sure.

There's good stuff in Bob Katz book on this subject (along with a lot of others).

 

[greyskull]

how to master for vinyl:
Send it to a mstering house that specialises in mastering to vinyl

 

[Kevin Kitchel]

Check out this info, and try to keep in mind that you want a fairly mono low end, want to cut down on sibilance, and any clipping you do will be way more apparent on vinyl. You also want to have high transient peaks, so don't use a brick wall limiter, and stay away from a ton of buss compression. The "fast, but not harsh" transient response of ribbon mics sounds really good on vinyl, IMO.

EDIT: This applies to mixing for vinyl. Don't master it yourself. Most vinyl places can do in-house mastering, and its not much of a step for them to do this when cutting (since thats pretty much what they are doing.

 

[axeman720]

The RIAA devoloped a curve for vinyl mastering Decades ago that was used to minimize or eliminate low end screwing up the needle path. Vinyl mastering houses take care of this for you. You should NOT change your mix in anyway for vinyl mastering. The low end is compensated on the phono input of your stereo. Hence the reason for a dedicated PHONO input. Lots of info about this floating around, just do some research. Its pretty interesting.

 

[sparkyness]

Interesting....I wonder if those RIAA standards are applied in Europe? If not, there may be a comparable standard with any luck. I know the guys in the UK at vinyl plants master differently for white labels than they do for commercial releases.

 

[punkrockacademyfightsong]

Check out this info, and try to keep in mind that you want a fairly mono low end, want to cut down on sibilance, and any clipping you do will be way more apparent on vinyl. You also want to have high transient peaks, so don't use a brick wall limiter, and stay away from a ton of buss compression. The "fast, but not harsh" transient response of ribbon mics sounds really good on vinyl, IMO.

EDIT: This applies to mixing for vinyl. Don't master it yourself. Most vinyl places can do in-house mastering, and its not much of a step for them to do this when cutting (since thats pretty much what they are doing.

thnx a lot for the usefull link & reply