mossboss wrote:Hey George
Thanks for the links Great
Can we abreviate you? like GeorgeZ=Gz or GZ or Dmm Gz?
There you are Choices
please rather don't abbreviate me
My first name "Jiri" is George in English, and then the first letter from my surname was added. I thought the nickname could be unique as it is not very much used in English. It is only a coincidence with that "GZ" pressing plant abbreviation. I am not an official spokesman of GZ and even cannot be considered as any representative of the plant.
Follows some info about our new mastering system
http://www.gzvinyl.com/vinyl-27/news-31 ... tering-619
I wrote it for guys at GearSlutz forum:
Is the feedback path connected to the computer? Can you reveal who built the system and/or write/link to more info? Curious..
We use PrismSound Orfeus 192kHz/24-bit converters mounted to our Neumann cutting consoles with some additional hardware IO modules for direct control and measurement of all possible parameters from both our VMS-82 DMM cutting systems and of course the feedback recording through Orfeus.
Both workstations are equipped with high-end PC (quad core, 12GB RAM, Windows 7 64bit etc...) and dedicated software "Visual Vinyl Mastering" written by our developers. It can premaster and master most common source audio formats, process it (levels, EQ, compressors, limiters, monoing etc.), analyze and simulate the cutting with possibility to see the simulated grooves, calculated geometric parameters of the grooves, many graphic meters, histograms and other similar high-math stuff). Storage server support and database connection is also present.
We can directly compare recorded audio from feedback, plate or test pressing record and synchronize it with the source audio to hear any differences and also to see them after analyses. It is the best for resolving of bad cut or pressing claims, because we know immediately if it was our fault or not.
Except the Neumann cutting consoles, the VMS lathes and the Orfeus converters is all other equipment and software developed and built here. The team counts 6 guys and the development for sure took more than 3 years I am here.
Now all guys here need to learn new things and be able to use the system up to its full potentialities.
Since any differences would be due to playback and not cutting what do you use to model the playback? A specific make of cartridge or an idealized model. What happens when someone uses something different and is unhappy with the results?
We can simulate and analyze in both horizontal and vertical direction:
1) an immediate angle of the groove - so we can prevent breaking of the groove by the back part of the cutting stylus
2) an immediate radius of the groove - simply said if the playback tip can fit into the groove or not. The effective contact radius of spherical and elliptical tips we suppose as 12 and 5 microns respectively and we can see when, where and how much the limits for both kinds of tips are exceeded.
Well, the simulation only helps us to set up optimal parameters (compromise between space consumption x loudness x distortion), but of course we are not able to do miracles
with already badly recorded, mixed or mastered files/CDs.
We can do very loud cut if the customer wants it, but the distortion increases rapidly, esp. at high freq. range. Most of the time we have to tolerate some short parts out of the safe limits to be competitive with loudness and human ear cannot hear very short distortions.
Some claims are accepted (our faults) and we cut again for free, some rejected (bad master) and then the customer has to pay for another cut with different settings according to his wish (loud cut, bass boost etc.).
As I wrote on electrical.com forum (topic - mastering: engineer vs. pressing plant) we are in-house mastering/cutting facility, we need to have a source audio which is already premastered for vinyl. We will not miraculously improve the sound and we don't want to compete with profi-mastering studios.