Mastering—transferring a recording to its final physical format—is literally the last artistic piece of a long process and one TVD is delving into over the coming months from a variety of angles with Scott Hull, mastering engineer and the owner of world-class and world-famous Masterdisk studios in New York City
On Wednesday, May 4, 2011, Scott will be presenting a hands-on workshop for vinyl lovers—no technical knowledge or aspirations needed. The first twenty of you to RSVP to the event at Masterdisk’s Studio in New York City will secure a spot at this very special event. Full details can be found right here.
Week #13 | Changers, Oddities, and Good-Bye for Now
It was a long time ago, but casual record listeners often stacked up several records on a record changer to play in sequence. The record changing technology paved the way for multi-disc sets. If it was a 4 disc set, sides 1 and 8 would be on disc one; sides 2 and 7 on disc 2, then sides 3 and 6 on disc 3, and sides 4 and 5 on disc 4. That way if you stacked up the “A sides” you would hear in sequence side 1, 2, 3, 4. Then you flip over the stack and you hear in sequence sides 5, 6, 7, and 8. Most record changers sense that the tone arm is at or near the inside of the disc and then the mechanism of the changer would go through its record drop sequence. If you’ve never seen this it’s pretty cool to watch – it’s crazy old school technology.
Cams mounted to the underside of the turntable platter cause the tone arm to be lifted off the record surface, then another cam pushes the tone arm all the way to the outside – clearing the disc stack. Then another cam releases a little mechanical switch that – if all goes well – allows one record from the stack to drop. Then 2 more cams move the tone arm to the lead in/safety groove area, and then lower the tone arm to the record. Some changers aren’t very gentle with the records or the tone arm.
Now for sure, every audiophile who cares for their record collection would not use a changer to listen to their multiple disc set. This really was for the casual listener. These stacks of records were a popular way to play music for a house party or simply keep the music playing longer with out having to DJ the party. Technology has come a long way in this regard, but we still love the personality of records. In fact we still call our music productions “records.” The word “compact disc” or “CD” sounds like a product but to me it doesn’t communicate the art of the production.
The vinyl package itself tells you so much about the music inside that many more people will buy a record on impulse than they will a CD. Historically, the CD will be seen as a format of convenience. And like any convenience, once something more convenient comes along, given some time, it makes the previous technology obsolete. OK, so that’s not rocket surgery, but then why are we buying more vinyl every year for the past 6-8 years? Why has this enthusiasm in vinyl record making, listening, and collecting not just stayed dead when its convenience factor was replaced by the CD?
The reason for this is the digital download. It’s so convenient you couldn’t want for any more convenience. You could get them faster, but yeesh, a minute to download 3 or 4 songs, and soon enough it will be 20 songs in a minute. Even the concept of owning a digital music collection is becoming obsolete, through streaming, pay per use, and subscription services.
But, we love our music. Our kids learn to love music. They idolize their bands in ways similar to the way we idolized The Beatles or The Rolling Stones. They want to have a physical product to read, to hold, to show, to share, to collect and display. It’s clearly a more intimate relationship with your music via vinyl. Somebody told me it’s about authenticity. The emotional reaction to the music is stronger. And I barely need to mention that they sound better. I think a growing number of the music buying community are telling us with their dollars that there is a place for convenient music but there is also a place for music that has special meaning in their lives.
I have one of the coolest jobs on the planet. I get paid everyday to listen very carefully and emotionally to music. And I have to make a difference. I have to find something from my experience that can help that day’s music project be more effective. To help the music get to where it wants to get. The music is everything. When I’m at my best, the technology is not even there. For me it just doesn’t get any better than that.
Pass your enthusiasm on to the next generation of music lovers. Give them the gift of music for music’s sake. These black discs have survived and with a little help we can get more and more people acquainted with vinyl – again or for the first time.
If any of you would like to ask questions about vinyl, about this blog, or our May 4 workshop, feel free to hit me on Facebook or Twitter. Our you can use old-fashioned email too.
If you’d like to stay in touch, I send out emails every 4-6 weeks where I discuss topics like the ones covered in this series, and also some of the goings-on at my studio, Masterdisk. You can sign up right here:
I hope you have enjoyed my lead up to Record Store Day. I have truly enjoyed bringing these posts to you. Please visit your local record store TOMORROW for Record Store Day and enjoy your music.
All the best to you and yours,
—Scott Hull, Masterdisk, NY
Scott Hull is a mastering engineer and the owner of Masterdisk (founded in 1973) in New York City. In his 25-plus year career, Scott has mastered records for Sting, Bob Dylan, Steely Dan, Os Mutantes, John Zorn, Uncle Tupelo, Sharon Jones & The Dap Kings and hundreds more. Visit Masterdisk online or on Facebook.
