One Souri vinyl recorder for sale!
Great condition, reluctant sale.
All sensible offers considered.
Bought in 2007 it is in good condition and works perfectly. Complete cutting machine with controller and power supply, corresponding level meter, vinyl optimisor, monitor switcher, microscope and three spare diamond styluses. Also includes a selection of blanks for cutting.
The necessary Technics 1210 turntable can also be included as well as the Mackie 1202 VLZ PRO Mixer that I've been using. You will need a vacuum with motor cooling which I can also include with the package if needed.
I will deliver it to anywhere in the UK.
Ideally I would like to sell it to someone who has used, or knows someone who uses one but... if you'd like some tips from the maker himself, Souri will do a one day training course at his workshop in Germany which includes resharpening of a stylus and 40 blanks, a night in a hotel in his town and a year of support for using the machine for 1000euros.
You can see details of the kit at Souri's website here:
http://www.vinylrecorder.com/order.html
All questions welcome.
Vinyl Recorder for Sale
Moderators: piaptk, tragwag, Steve E., Aussie0zborn
I believe anyone you sell this to has to pay Souri for training otherwise he won't support the system. He also won't sell you blanks or new needles.
That is a major issue with Souri. He only sells items to people who are the original purchaser of the machine. And, if it gets sold, the purchasing party must pay for training. Otherwise you are cut off.
Additionally, Souri will not let you purchase more equipment until you have been cutting for a while. So, if you want the precision plate and motor system then you need to wait. IE you need to cut a crapload of shitty records before he'll let you buy the peices you need to cut something worth while.
I had a test cut done by Souri on a one of his basic systems as described here using the SL1200 as the plate and motor and it sounded pathetic. I mean really bad. Any tone that sustained had a modulated pitch due to the fact that the 1200 does not produce enough torque (even when modified). So, the platter speeds up and slows down constantly as the record is cut. This is what is called flutter. And the basic Vinyl Recorder system has it in spades. And Souri won't sell you what you need to fix it until he feels like you derserve it.
Other than that I have never been more insulted or dismissed by a vendor than I have by Souri. He has attitude and then some. Be prepared to kiss ass if you want to get anywhwere with him. I simply gave up. Wanted to buy a full cutting system. 10K USD. He flat out refused to sell it to me. Souri said "Ha ha ha ! - you mean if you inverst much money, you will make better records. This is absolutely wrong! Everything is a question of master." Well that is partially true. I think cutting on a Presto vs. cutting on a Vinyl Recorder vs. cutting on a VMS70 will give you better quality each step even with the same mastered material. So, I wholeheartedly disagree with Souri.
I went back and forth with him so many times that I gave up and saved some more money and am now buying a fully restored VMS70 from Al. Forget Souri, unless you like dealing with a pain in the ass. Vinylium might not be good about respoinding but at least when they do they don't insult you and your intelligence. They don't refuse to sell you things. They don't act like they are the vinyl god and you are not worthy...
That is a major issue with Souri. He only sells items to people who are the original purchaser of the machine. And, if it gets sold, the purchasing party must pay for training. Otherwise you are cut off.
Additionally, Souri will not let you purchase more equipment until you have been cutting for a while. So, if you want the precision plate and motor system then you need to wait. IE you need to cut a crapload of shitty records before he'll let you buy the peices you need to cut something worth while.
I had a test cut done by Souri on a one of his basic systems as described here using the SL1200 as the plate and motor and it sounded pathetic. I mean really bad. Any tone that sustained had a modulated pitch due to the fact that the 1200 does not produce enough torque (even when modified). So, the platter speeds up and slows down constantly as the record is cut. This is what is called flutter. And the basic Vinyl Recorder system has it in spades. And Souri won't sell you what you need to fix it until he feels like you derserve it.
Other than that I have never been more insulted or dismissed by a vendor than I have by Souri. He has attitude and then some. Be prepared to kiss ass if you want to get anywhwere with him. I simply gave up. Wanted to buy a full cutting system. 10K USD. He flat out refused to sell it to me. Souri said "Ha ha ha ! - you mean if you inverst much money, you will make better records. This is absolutely wrong! Everything is a question of master." Well that is partially true. I think cutting on a Presto vs. cutting on a Vinyl Recorder vs. cutting on a VMS70 will give you better quality each step even with the same mastered material. So, I wholeheartedly disagree with Souri.
I went back and forth with him so many times that I gave up and saved some more money and am now buying a fully restored VMS70 from Al. Forget Souri, unless you like dealing with a pain in the ass. Vinylium might not be good about respoinding but at least when they do they don't insult you and your intelligence. They don't refuse to sell you things. They don't act like they are the vinyl god and you are not worthy...
Excellent post that confirms what I have always suspected about the Vinyl Recorder. What a joke. Let this tyrant sit on his little island and hold all his golden systems hostage from the rest of us. Who gives a shit. Great business model.
Josh Bonati
www.bonatimastering.com
www.bonatimastering.com
And sorry Vix - not to be dismissive towards your sale - I do hope you sell it. I guess it's just not a good option for cutters here in the US since the owner is "moody" and across the pond. The system itself, on paper, seems like it might be capable of making good cuts. I've never seen one in person.
Josh Bonati
www.bonatimastering.com
www.bonatimastering.com
If anyone is interested I can post two audio clips. One of the original material sent to souri. And, one of the recorded disc that I received from Souri. The flutter is so distinct and audible that it would be embarrasing for me to play this to prospective distributors.
I write music. I want to be able to do my own one-offs to send out for promotional purposes to distributors and friends/peers. I also want to be able to plate and press some cuts.
YOU CAN NEVER PLATE AND PRESS A CUT FROM VINYL RECORDER!!!! It deos not accept a ruby/sapphire. It will not cut into acetate. Check the site for confirmation. So, no plating or pressing of plastic. The silvering agent won't stick to the plastic. So, no master/mothers can be galvinized. Even if it could cut acetate, with just a SL1200 you could only ever cut a 12" lacquer used to make a 10" pressed record. You have to cut a 14" lacquer to make a 12" record.
Paramount to all of this is the fact that flutter mean varying BPM of the material being cut and played back. So, if you are cutting electronic music destined to be played by a DJ then a basic Vinyl Recorder system is totally not what you want. All cuts with flutter will play back at a variable BPM which will make them very challenging if not almost not worth playing. When trying to beat match to another record you will have to play with the pitch slider way way way way way more than usual to keep the constantly shifting source material in line. Now that is some B.S.
Souri says "When i was you, i made records for Dj with a 1950 lathe. They had been very happy with the discs. nobody ever found out, that only mono and max frequences 8khz." First, Souri was never me as I am not a jerk. Second, I hope those DJ's read this or have a friend who tells them about this so they can ask for their money back... Third, if someone can't tell the difference between a mono and a stereo record then they deserve not to be a DJ. Playing on a stereo system a mono record will only fill half of the room unless you've made yourself special headshells that share the one signal with both left and right chanels. Fourth, if you can't tell the 8khz to 20khz range has been cut off then you need to check your ears or something. I would be able to tell if all of the high ranges were taken out of my produced music. Play somthing through an EQ and pull all of the bands down from 8khz to 20khz and see if you notice a disfference..... He must think the rest of the world is a friggn idiot!
I write music. I want to be able to do my own one-offs to send out for promotional purposes to distributors and friends/peers. I also want to be able to plate and press some cuts.
YOU CAN NEVER PLATE AND PRESS A CUT FROM VINYL RECORDER!!!! It deos not accept a ruby/sapphire. It will not cut into acetate. Check the site for confirmation. So, no plating or pressing of plastic. The silvering agent won't stick to the plastic. So, no master/mothers can be galvinized. Even if it could cut acetate, with just a SL1200 you could only ever cut a 12" lacquer used to make a 10" pressed record. You have to cut a 14" lacquer to make a 12" record.
Paramount to all of this is the fact that flutter mean varying BPM of the material being cut and played back. So, if you are cutting electronic music destined to be played by a DJ then a basic Vinyl Recorder system is totally not what you want. All cuts with flutter will play back at a variable BPM which will make them very challenging if not almost not worth playing. When trying to beat match to another record you will have to play with the pitch slider way way way way way more than usual to keep the constantly shifting source material in line. Now that is some B.S.
Souri says "When i was you, i made records for Dj with a 1950 lathe. They had been very happy with the discs. nobody ever found out, that only mono and max frequences 8khz." First, Souri was never me as I am not a jerk. Second, I hope those DJ's read this or have a friend who tells them about this so they can ask for their money back... Third, if someone can't tell the difference between a mono and a stereo record then they deserve not to be a DJ. Playing on a stereo system a mono record will only fill half of the room unless you've made yourself special headshells that share the one signal with both left and right chanels. Fourth, if you can't tell the 8khz to 20khz range has been cut off then you need to check your ears or something. I would be able to tell if all of the high ranges were taken out of my produced music. Play somthing through an EQ and pull all of the bands down from 8khz to 20khz and see if you notice a disfference..... He must think the rest of the world is a friggn idiot!
hey opcode66
I cannot believe he did the same to you
lol
I wasted my time as well with him.
I did not really wanna tell everybody but I think people deserve to know whats going on.
I even flew over to Germany because of him.
You are right with the cuts. It took me 5 days, 10 blanks and a diamond to get a cut on the kinsgton which sounds better than the original tool album.Nice trbeles and deep frequencies.
I;m just glad he didn't sell it to me.
I have three cuts from a souri machine inkl a demo of him and it sounded average. Dull no hi hats, not much base way to bloddy loud, no dynamic and it just sounded so different. I mean all the sounds sounded different.
Anyway I can't be fucked to put up with someone like him either.
All this bla bla from him just rude.....
Cheers
I cannot believe he did the same to you
lolI wasted my time as well with him.
I did not really wanna tell everybody but I think people deserve to know whats going on.
I even flew over to Germany because of him.
You are right with the cuts. It took me 5 days, 10 blanks and a diamond to get a cut on the kinsgton which sounds better than the original tool album.Nice trbeles and deep frequencies.
I;m just glad he didn't sell it to me.
I have three cuts from a souri machine inkl a demo of him and it sounded average. Dull no hi hats, not much base way to bloddy loud, no dynamic and it just sounded so different. I mean all the sounds sounded different.
Anyway I can't be fucked to put up with someone like him either.
All this bla bla from him just rude.....
Cheers
Hi,opcode66 wrote:Playing on a stereo system a mono record will only fill half of the room unless you've made yourself special headshells that share the one signal with both left and right chanels.
That is not true. A mono lateral cut record will playback just fine using a stereo pickup. It will play back centered with equal volume from the left and right speaker. That is one of the big reasons the 45/45 stereo system won out over the lateral/vertical method.
Mark
My bad then. Could have sworn I read that you have to mod your headshells to play mono well/at all.
Never tried to play mono material on a stereo cartridge. Have a mono tonearm setup for that.
Otherwise an accurate synopsis of things in my opinion....
And I'm positive there are a number of people with similar experiences with Souri.
I'm not trying to flame the guy or his work. I just want people to know these things before they consider buying. It might save them some time/frustration.
Never tried to play mono material on a stereo cartridge. Have a mono tonearm setup for that.
Otherwise an accurate synopsis of things in my opinion....
And I'm positive there are a number of people with similar experiences with Souri.
I'm not trying to flame the guy or his work. I just want people to know these things before they consider buying. It might save them some time/frustration.
-
Aussie0zborn
- Posts: 1852
- Joined: Sat Mar 11, 2006 8:23 am
- Location: Australia
- Contact:
Hi,opcode66 wrote:My bad then. Could have sworn I read that you have to mod your headshells to play mono well/at all.
There is an advantage to summing the left and right channels either in the headshell or at the mixer. Noise appearing only on the left or right channels only is now centered and bit less bothersome. Summing removes any vertical component in the recovered audio, so there is a bit of noise rejection as well. But, it is not a required do so for proper playback. The other option is to purchase a mono pickup and mount it in the shell. seem to recall somebody still makes a mono only pickup. Grado perhaps?
Mark
my grampian is a mono head and every record i cut and play back on my stereo carts sound great. the only difference is channel phasing as it squashes it all into one channel so no "space oddity" or "dark side of the moon" to be cut on my system
as for the clubs running mono, i've been djing for going on 17 years now and i almost always run in mono, especially when dealing with shotty in-house tables where the cart connection is hit and miss, nothing is worse than playing a tune then having the tonearm connection fade out on one side when you're in the middle of a crowd of people.
grado does in fact still manufacture mono heads as well as a few other high end priced carts by other companies. just the other day i saw a dual deck at a garage sale that had a headshell with a mono/stereo pull switch, i was half tempted to purchase it but i wasn't sure if the cart was mono/stereo itself and the pull switch was damaged so i'm not sure if it would have even worked.
as for the clubs running mono, i've been djing for going on 17 years now and i almost always run in mono, especially when dealing with shotty in-house tables where the cart connection is hit and miss, nothing is worse than playing a tune then having the tonearm connection fade out on one side when you're in the middle of a crowd of people.
grado does in fact still manufacture mono heads as well as a few other high end priced carts by other companies. just the other day i saw a dual deck at a garage sale that had a headshell with a mono/stereo pull switch, i was half tempted to purchase it but i wasn't sure if the cart was mono/stereo itself and the pull switch was damaged so i'm not sure if it would have even worked.
all the best!
- tommie 'plan 9' emmi
poly-cut lathe cuts / cymbalism recordings
- tommie 'plan 9' emmi
poly-cut lathe cuts / cymbalism recordings
To much space stuff for me here in the last day or so I think i will stay in terra firma What with spaceships screaming and no name what is going oncymbalism wrote:my grampian is a mono head and every record i cut and play back on my stereo carts sound great. the only difference is channel phasing as it squashes it all into one channel so no "space oddity" or "dark side of the moon" to be cut on my system
Cheers
"The Vinyl Truth"
Chris
Chris
I play a number of clubs that do have a stereo setup. Of course kickers are mono. And, I've even played a club that was setup to run surroundsound if you had the outs.... I do live in Chicago though....
But, yes a lot of places are do outpu mono to their speakers.
At home I certainly run setereo. So, that would still suck to play a mono record.
But, yes a lot of places are do outpu mono to their speakers.
At home I certainly run setereo. So, that would still suck to play a mono record.
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montalbano
- Posts: 146
- Joined: Tue Aug 11, 2009 3:03 pm
- Location: Settala (MI), Italy
- Contact:
Hey hey hey what's this pile of shit tossed against Souri? He might have been moody with someone, but personally I never had any issue with him, no problems for additional motor, precision plate, etc. And a very fast service as well.
We press records and for that purpose we cut the lacquers with a VMS70, but we also make dubplates since a longer time; Vinylrecorder was our choice from the beginning for that purpose, and it is still the machine we use. We have cut hundreds of dubplates without having one complaint from a customer, including DJs, pop artists, old blind singers (!) ... everyone.
Now following your theories we might be some idiots looking for the best way to close the company ASAP, by supplying customers with the worst possible quality. Well it's not exactly like this. Customers want a fast service with a reasonable price/quality ratio. So take the Vinylrecorder: once you are used to the machine, the machine is perfectly set (and this is not always done 100% by Souri) and once you know how to master the material (and you can't do that with just Souri's equipment) you are able to get good clean cuts. Other machines will probably do a better job: this is possible. But if you SELL dubplates, Souris disc cost 3€ each, the machine costs 1/2 of other machines and one diamond costs 100€ and you can make it last for more than 50 hours. Now try to spend 30€ for a dubplate and sell it for 60-80€. How many people will buy it? Maybe it is better to spend say 5€ and sell it for 35-40€ and have much more customers in my opinion.
After all, the common issues of most material intended to be recorded to vinyl cause the same problems either in Souri's Vinylrecorder and in the VMS70. You certainly know that if you spend 20K for the VMS70 and you simply push play on the CD without doing anything else you will not get a perfect flawless cut: it will sound like shit even if it will have been cut with a VMS70 with a SX74 cutterhead. It will probably sound a bit better than with the Vinylrecorder, but it will sound bad either. Why? Because the vinyl cutting process has some physical limits, and there is no machine or cutterhead which is able to go among them. A vinyl record will not sound like a CD: it's IMPOSSIBLE - it's not simply hard.
As for the extensions, we have got feedback, plate, motor etc. But look, before getting the external motor and the plate, we too have got some flutter issues here and there, but only occasionally. I mean, it is not a "standard", otherwise the "basic" machine would be useless. It depends in how deep you are cutting, on the stereo width, on a lot of stuff.
Anyway, lots of posts have been written about the Vinylrecorder.
Souri would definitely need a sales office and some ficas attending customers there in the middle of nowhere in Baden-Wurttenberg where he's based, but please let's not cover his machine with this pile of shit, it's an excellent machine which quickly self-pays itself and this fact says all in my point of view.
As for the plating of the Souris discs, IT CAN BE DONE, and it has been done. It's a long process, the difference is not in silvering but in plating, the result is not so fantastic but you can press with those stampers. But again: why changing the wheel and decrease the quality of a record? To spare 30€ per side? To kill the market? I can't see the reason.
Send me your original .mp3 file - I'll cut it for you and then we'll see if this flutter comes again of if Souri had a little extra couple beers that night.
Ciao
We press records and for that purpose we cut the lacquers with a VMS70, but we also make dubplates since a longer time; Vinylrecorder was our choice from the beginning for that purpose, and it is still the machine we use. We have cut hundreds of dubplates without having one complaint from a customer, including DJs, pop artists, old blind singers (!) ... everyone.
Now following your theories we might be some idiots looking for the best way to close the company ASAP, by supplying customers with the worst possible quality. Well it's not exactly like this. Customers want a fast service with a reasonable price/quality ratio. So take the Vinylrecorder: once you are used to the machine, the machine is perfectly set (and this is not always done 100% by Souri) and once you know how to master the material (and you can't do that with just Souri's equipment) you are able to get good clean cuts. Other machines will probably do a better job: this is possible. But if you SELL dubplates, Souris disc cost 3€ each, the machine costs 1/2 of other machines and one diamond costs 100€ and you can make it last for more than 50 hours. Now try to spend 30€ for a dubplate and sell it for 60-80€. How many people will buy it? Maybe it is better to spend say 5€ and sell it for 35-40€ and have much more customers in my opinion.
After all, the common issues of most material intended to be recorded to vinyl cause the same problems either in Souri's Vinylrecorder and in the VMS70. You certainly know that if you spend 20K for the VMS70 and you simply push play on the CD without doing anything else you will not get a perfect flawless cut: it will sound like shit even if it will have been cut with a VMS70 with a SX74 cutterhead. It will probably sound a bit better than with the Vinylrecorder, but it will sound bad either. Why? Because the vinyl cutting process has some physical limits, and there is no machine or cutterhead which is able to go among them. A vinyl record will not sound like a CD: it's IMPOSSIBLE - it's not simply hard.
As for the extensions, we have got feedback, plate, motor etc. But look, before getting the external motor and the plate, we too have got some flutter issues here and there, but only occasionally. I mean, it is not a "standard", otherwise the "basic" machine would be useless. It depends in how deep you are cutting, on the stereo width, on a lot of stuff.
Anyway, lots of posts have been written about the Vinylrecorder.
Souri would definitely need a sales office and some ficas attending customers there in the middle of nowhere in Baden-Wurttenberg where he's based, but please let's not cover his machine with this pile of shit, it's an excellent machine which quickly self-pays itself and this fact says all in my point of view.
As for the plating of the Souris discs, IT CAN BE DONE, and it has been done. It's a long process, the difference is not in silvering but in plating, the result is not so fantastic but you can press with those stampers. But again: why changing the wheel and decrease the quality of a record? To spare 30€ per side? To kill the market? I can't see the reason.
Send me your original .mp3 file - I'll cut it for you and then we'll see if this flutter comes again of if Souri had a little extra couple beers that night.
Ciao
i think a lot of the negativity about souri comes from frustration. i know i've spent a lot of time speaking to him via email and he is dead set in his ways, mostly due to the fact he has been screwed over a lot by people. money is not his concern from what i can get from our conversations and he is very loyal to his machine and his customers. i've tried on many occasions to try to get samples of his stylus or blanks just so i can actually try them out but it hasn't happened. i'm just curious how he can get that many cuts from his diamonds and i couldn't even get 4 hours out of a vinylium, could be his blanks but then again, i don't know because i can't get one of those to try either.
all the best!
- tommie 'plan 9' emmi
poly-cut lathe cuts / cymbalism recordings
- tommie 'plan 9' emmi
poly-cut lathe cuts / cymbalism recordings
@montalbano - I think you have taken this way too personally. First, you didn't really address most of my complaints. You spent a lot of time talking about other things.
Second, any system based on a SL12000 has flutter. There is no argument there except from you. The torque is not high enough, certainly nowhere near what is found on the VMS70. You just can't argue the facts.
Third, you cutting my MP3 using the Presicion plate and External Motor is not the same as cutting with a stanrdard SL1200 which is what I was saying. If you want to cut my MP3 without using the Plate and Motor you will cut with flutter that I could still hear. I will gaurantee that! The point I was making is that the machine IS useles to any serious cutter without the Plate and Motor. Did Souri sell you those with your initial package? I bet not. And, if he did, you are the only person in the world I've spoken to who was able to purchase extras with their initial package.
Souri is an ass. Have plenty of email communications to back that up. Want more quotes?
Where do you get your plastic plated and pressed? I dont' know anyone who handles anything other than lacquer. I'm sure Flo would be interested to know that process seeing as though he had some recent threads where he was trying to get plastic plated and pressed with no success. So, you know something that Flo doesn't. Impressive.... Back it up. Oh, and how do you fit a 14" lacquer on a 12" turntable??? You can't. Without the precision plate that Souri will only sell after you have been cutting with his machine for an inderterminate amount of time.
"Hey hey hey what's this pile of shit tossed against Souri?" Well, if you bother to read my post I said. "I'm not trying to flame the guy or his work. I just want people to know these things before they consider buying. It might save them some time/frustration." If you consider telling people the truth flinging shit then I don't know what to say.
I dont' think that there is any question or doubt about the cutterhead. It is ok. It does not provide the same results as Vinylium or SX74. Has nothing to do with mastering. Mastering will make the final output sound good yes. But, given the same signal, Souri's head does not have the frequecy response as the others. I think a number of the people on this forum have beaten this dead horse to death.
You know you could have just got another head to put a diamond in and swapped heads in your VMS70 to cut plastic. Seems like it would be easier/cheaper to do it that way than it would be to maintain two systems.
"We have cut hundreds of dubplates without having one complaint from a customer, including DJs, pop artists, old blind singers (!) ... everyone" How many of those were cut without the precision plate and motor? Also, just because you write music or sing does not mean that you would know what to look for in a cut record. Certainly doesn't mean that you would recognize flutter if your ear isn't looking for it.
I'm not sure where you are getting your prices. I can get plastic blanks for the same amount as you. You are going way overboard there.
Do you really think I would buy a vms70 just so I can push play? Maybe you did. I would never want vinyl to sound like a cd. CD is lower quality sound. In fact, I will be cutting from 20 bit 128Khz audio so it will sound better to begin with. The better the accuracy of the digital, the closer the cut groove will match. The main issue here is that digitized audio is a stepped path and is not a smooth path like analog. The less the stepping (ie the higher the samples per second) the less it will be noticed and the more the analog representation will match. I think you need to study a bit more. And, I as well as most others on this forum understand the physical limitations of the media, the cutterhead, and the playback stylus.
Yes, Souri needs to have someone else represent him. Because lord knows he turns away more people with his attitude than not. You must have caught him on a good day. The way he talks to people is unacceptable. Oh, and welcome to 1994 web site design... He really needs to update that piece of crap site.
The problem with plating is that the silver won't stick. You silver it. You go to plate it. The plating starts to sluff off the disc. Therein lies the problem. Again, tell Flo cause I'm sure he'd love to know how it was done. Something he couldn't get done... Links to video on this site.
How about this. You send me one of your files and I'll cut it to a better standard for you. Don't get so high on yourself my friend. There are tons of good cutters. Tons of good ways to cut. Tons of lathe setups. You can make what you have work if you are serious and spend the right amount of time.
Don't take this all so personally. You are not Souri. You are not making his machine.
Second, any system based on a SL12000 has flutter. There is no argument there except from you. The torque is not high enough, certainly nowhere near what is found on the VMS70. You just can't argue the facts.
Third, you cutting my MP3 using the Presicion plate and External Motor is not the same as cutting with a stanrdard SL1200 which is what I was saying. If you want to cut my MP3 without using the Plate and Motor you will cut with flutter that I could still hear. I will gaurantee that! The point I was making is that the machine IS useles to any serious cutter without the Plate and Motor. Did Souri sell you those with your initial package? I bet not. And, if he did, you are the only person in the world I've spoken to who was able to purchase extras with their initial package.
Souri is an ass. Have plenty of email communications to back that up. Want more quotes?
Where do you get your plastic plated and pressed? I dont' know anyone who handles anything other than lacquer. I'm sure Flo would be interested to know that process seeing as though he had some recent threads where he was trying to get plastic plated and pressed with no success. So, you know something that Flo doesn't. Impressive.... Back it up. Oh, and how do you fit a 14" lacquer on a 12" turntable??? You can't. Without the precision plate that Souri will only sell after you have been cutting with his machine for an inderterminate amount of time.
"Hey hey hey what's this pile of shit tossed against Souri?" Well, if you bother to read my post I said. "I'm not trying to flame the guy or his work. I just want people to know these things before they consider buying. It might save them some time/frustration." If you consider telling people the truth flinging shit then I don't know what to say.
I dont' think that there is any question or doubt about the cutterhead. It is ok. It does not provide the same results as Vinylium or SX74. Has nothing to do with mastering. Mastering will make the final output sound good yes. But, given the same signal, Souri's head does not have the frequecy response as the others. I think a number of the people on this forum have beaten this dead horse to death.
You know you could have just got another head to put a diamond in and swapped heads in your VMS70 to cut plastic. Seems like it would be easier/cheaper to do it that way than it would be to maintain two systems.
"We have cut hundreds of dubplates without having one complaint from a customer, including DJs, pop artists, old blind singers (!) ... everyone" How many of those were cut without the precision plate and motor? Also, just because you write music or sing does not mean that you would know what to look for in a cut record. Certainly doesn't mean that you would recognize flutter if your ear isn't looking for it.
I'm not sure where you are getting your prices. I can get plastic blanks for the same amount as you. You are going way overboard there.
Do you really think I would buy a vms70 just so I can push play? Maybe you did. I would never want vinyl to sound like a cd. CD is lower quality sound. In fact, I will be cutting from 20 bit 128Khz audio so it will sound better to begin with. The better the accuracy of the digital, the closer the cut groove will match. The main issue here is that digitized audio is a stepped path and is not a smooth path like analog. The less the stepping (ie the higher the samples per second) the less it will be noticed and the more the analog representation will match. I think you need to study a bit more. And, I as well as most others on this forum understand the physical limitations of the media, the cutterhead, and the playback stylus.
Yes, Souri needs to have someone else represent him. Because lord knows he turns away more people with his attitude than not. You must have caught him on a good day. The way he talks to people is unacceptable. Oh, and welcome to 1994 web site design... He really needs to update that piece of crap site.
The problem with plating is that the silver won't stick. You silver it. You go to plate it. The plating starts to sluff off the disc. Therein lies the problem. Again, tell Flo cause I'm sure he'd love to know how it was done. Something he couldn't get done... Links to video on this site.
How about this. You send me one of your files and I'll cut it to a better standard for you. Don't get so high on yourself my friend. There are tons of good cutters. Tons of good ways to cut. Tons of lathe setups. You can make what you have work if you are serious and spend the right amount of time.
Don't take this all so personally. You are not Souri. You are not making his machine.