Infographic: The birth of a vinyl record illustrated

Infographic: The birth of a vinyl record illustrated

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Our step-by-step infographic reveals the exact magic that goes into creating a record.

You’ve had a peak inside our pressing plant, zooming in and out at the machinery behind the music. Now fill in the gaps with our illustrated infographic which delineates every step of the production system.

From lacquer creation in the mastering studio to metalwork operations and the pressing procedure, there are many intricate and highly labour intensive processes needed to keep the vinyl spinning on your turntable. Check out how we do it below:

How Vinyl is Made_4

Illustration: Jonathan Chadwick

  • matan

    that’s not an infographic. that’s an article with images on the side that’s being formatted as an image. why is that even important? because reading through this infographic takes exactly as much time, if not more than, reading a standard article.

  • Deuce Sevenoff

    Why do you make a negative of the lacquer, then make a positive of that, before finally making the stamper from that second positive? I thought the process was just to make the stamper out of the lacquer. What is the advantage of adding those two additional masters? Isn’t some information being lost with each master you make? Do you have to compensate for that when you’re cutting the lacquer?

    • Gabriel Colucci

      You cannot make a “stamper” from a “father” also you need more than one “stamper” in production, so you need a “mother” to make a series of “stampers”, this is a “three-step process”. You can make a “one-step plating process” with a Direct metal mastering technique (DMM) but if you need large quantities you need a “mother” again. And yes! You allways “compensate” the process on groovin by the engineer. Some information is added in the form of noise from nickel to nickel, sadly.

      • Deuce Sevenoff

        OK, so if I understand you, the lacquer original is too frail to make even one stamper? If so, then that makes sense. I also never thought about needing multiple stampers. But I could see that that would have been absolutely necessary back in the day of pressing hundreds of thousands of a single title. (I can’t imagine the volumes today warrant such; in fact I’m not sure there’s production capacity, given that the remaining record plants are working with 30+year old equipment being pushed past its operational limits.)

        DMM sounds interesting. Is that basically lathing a stamper direct from the source? How does that work?