Erik Peterson

More Creative Vinyl Inspiration - about 26 days ago

by Erik Peterson

A couple months ago I published a post of a few cool and creative vinyl record releases for inspiration for those of you considering releasing a record with Hifidelics. As you may or may not already know, Hifidelics is about releasing limited runs of custom vinyl records in beautiful, creative packaging. From time to time I will stumble across a vinyl release that really stands out and I think to myself, “Man, I wish we were the ones releasing this record”. So instead of just passing-on by, I wanted to share some of these stand-out record releases with you and give you some ideas as to what else is out there, and what can make an ordinary record into a masterpiece.

This time around, the records I’m sharing here are less of a focus on packaging, and more of a focus on just some killer vinyl. Now, imagine these records also coming in some awesomely designed packaging, as well. Your fans would be fighting to get their hands on just one, of very few, copies.

First up is a copper record from the band Scrap Iron called, “Shovel”. Technically not ‘vinyl’, but it does fall into the same category. I researched to find out more about this band and record, but turned up nothing. I believe the band’s name and associated keywords are too similar to common searches. However, the record manufacturer had this to say about the record; “This is the prototype. The finished version will have flash memory circuitry built into it so that you can plug a usb cable directly into the record and download the songs!”. It sounds pretty damn cool, doesn’t it? Not only that, but the non-groove side is a piece of artwork. This would be a very memorable release if they can get the word out.

Next we have a very cool record of Boys Noize & Erol Alkan remixes. Yes, that IS a 12″ vinyl record! It’s a picture-disc, actually. Picture-discs are not all that original in the world of vinyl, however I find the picture they used to be very clever! From what I can tell, it seems this record sold out very quickly, too.

Last, but certainly not the least, comes from Jack White’s Third Man Records. As many of you know, Third Man is also a crusader for vinyl records (I swear, Third Man had no influence on Hifidelics!) I’ve mentioned this record before. I’m not sure about it’s practicality for listeners, but collectors will love something like this. One comment on this video’s Youtube page mentioned they saw this record for sale on eBay for $600! It’s a triple-decker record for one of Jack’s many projects, The Dead Weather. He begins to explain and show you the record at about 00:35.

If you’re an artist and have a fanbase of vinyl-lovers, Hifidelics can help you release awesome records just like these! Just contact us with the concept you have in mind and we can get you started. Or, check out this blog’s Hifidelics page to learn a bit more on what we are all about.

Mixing and Mastering for Vinyl Records - about 2 months ago

by Erik Peterson

I’ve been getting a lot of questions from you guys about the differences between digital and analog when it comes to the final mix. As you may or may not know, it’s really a bad idea to use your masters that were mixed for digital for vinyl. Admittedly, I’m not much of a studio guy, so I asked someone who does know the details and differences. The following article about mixing and mastering for vinyl records is a guest post from Adam Williams of Sonics60. Thanks Adam!

There is an age old argument that vinyl records sound better than CD or uncompressed digital audio. This is a very subjective argument that to this day, I believe, is impossible prove. However, I believe that a good quality vinyl record played on a high quality sound system produces a fantastic sound with a character and warmth that provides a completely different, and to me, a more pleasurable listening experience.

The reason I’m writing this article is that there is still demand for vinyl. Yes, not only are we still buying it, but reports indicate that sales are gradually increasing. A lot of what I’ll say in the article may seem obvious to an older generation of engineers and producers; however, there is younger generation of digital natives that may have never experienced the glories that vinyl can bring. If you’re a band, engineer or producer working on a vinyl release, there are a few techniques you can apply to get the most out of your recording. In my opinion, a mix is always subjective; however, we also need to work within the constraints of the technologies we’re using. Hopefully, the following will assist you in achieving a better sounding mix for your vinyl release.

It should be recognised as one of the main differences between an analogue vinyl recording and digital audio is the dynamic range. CD quality digital audio will have a dynamic range of about 150dB, where a vinyl record can produce anywhere from 70dB to 90dB. It is possible for vinyl to go higher, but these figures are a good starting point. It is good bare this in mind when handing over the mix to the mastering or cutting engineer. If the levels are too hot for the medium, the engineer will need to attenuate the signal, therefore possibly severely altering the sound of your mix. I want to keep this article about being creative however; it is worth noting that digital signals are measured in dBFs, whereas analogue signals are measured in dBVU. More information on this can be found here. It is also worth talking to the mastering engineer as he/she will be able to advise you.

There are areas within the frequency spectrum that need to be treated differently with vinyl. In the digital domain it is common to add compression or add limiting to the high frequencies to increase the perceived loudness. This method does not translate well to vinyl. If you can visualise the stylus in the groove of a record, it is moving through a series of peaks and troughs, narrow and wide, which causes the head to vibrate. These vibrations are then converted to an electrical signal which is then amplified and the passed through the chain until the sound is reproduced through the speakers. Again, if you can visualise the grooves as sound waves, higher frequencies are smaller and more frequent and cause more vibrations to the head. This can then cause overload from the amount of work the head needs to do and therefore compromising the sound quality by adding distortion, and potentially damaging the equipment. I’m not saying don’t use compression or limiting on the high frequencies, but be aware of what overdoing it can do. The cutting stage is the opposite of what I just described, where the cutting head is vibrated using an electrical current to cut the corresponding grooves into the record.

Low frequency content needs to be tackled differently. Try to centre the low frequency element to your mix. I understand it may be a creative choice to have two simultaneous basslines panned left and right, but this can cause phase problems when cutting the disc and render the disc unplayable, or at least unpleasant to listen to. There are ways around this at the mastering stage by cutting the low frequency content however; this will again alter the sound of your mix. It is better to recognise this at the mix stage and achieve a result you’re happy with before it is sent to the mastering engineer.

With the influx of music production and technology tools and software, and the constantly increasing power and affordability of processing power, it is easy to get creative with whole load of processor plugins on your mix. This is fine, but I suggest taking a step back and taking a different approach when mixing for vinyl. It is easy to add a compressor to the kick drum to give it that extra punch however; there are other ways to achieve similar results which translate better to vinyl. It is also advisable to be very aware of clipping. In the digital domain, clipping can be masked and dealt with, but it does not transfer well to vinyl.

Vinyl is a great medium for dynamic music and I’m a believer that great dynamics and EQ can be achieved at the tracking stage with good mic placements and performances. However, sometimes this is not possible due to lack of resources and time. In addition, as a mix engineer, it is common to be handed stems that have been recorded elsewhere by someone else where you have no input on the recording process. Instead of loading up that compressor to achieve the punch or volume to get it to cut through, try using EQ and balancing with the other instruments. Listen out for the harmonics and a little notch here and there can make all the difference. Careful panning and reverb can also bring instruments out in the mix. One thing to be very aware of is the length of your tracks as the vinyl disc is limited to how much information in can hold at good quality. Make careful decisions about the running order, or sequence of your tracks on the disc. The outer grooves a less susceptible to distortion so place your killer and loud tracks here, and your softer and quitter tracks towards the centre of the disc.

The best thing to do is put yourself in the mindset of your potential audience. The majority of vinyl junkies I know invest a lot of money in their audio systems. Some even build special, acoustically treated listening rooms. Don’t worry too much about achieving loudness at the mix stage. Try and achieve a good balance and level for the mastering engineer to work with but remember, your audience probably has a sound system that’s very capable of going very loud, at their preference. A lot of DJs still use vinyl as well as digital, but most club systems will run through compressors which will level everything. The difference between highly compress digital music and more dynamic vinyl in this environment is that the digital files may sound flat through the club system, whereas the vinyl will have that natural punch which sounds fantastic at high volumes.

I’m not dictating that you shouldn’t be creative with the tools that are available to you. However, by being aware of the constraints of the medium and the preference of your audience can yield some great results and deliver a product that is of extremely high quality.

P.S. Another thing to remember about your vinyl release is the packaging – but that’s another story……

Adam added that he is open for any questions you may have. He is most easily reached via Twitter: @sonics60.

[ mirror post on corporate blog ]

Why Coose Vinyl - about 7 months ago

by Erik Peterson

It’s true that music fans have started to become interested in vinyl records again. Only halfway through 2011 vinyl sales were already up by 41%. And it’s not just the baby-boomers or people that grew up with vinyl; it’s really catching-on with the younger generation and new artists, as well. That really only played a small part in our decision to make vinyl records the chosen format for Hifidelics. Albeit true that the general music-loving population will probably care little for vinyl records with so many format options available today, some people have always found a certain charm and emotional attachment to their records unlike any other format.

“My house burned down in the central Texas wildfires. I snuck into my barricaded, burning down neighborhood through the woods on my mountain bike to rescue my vinyl collection.”

While the above quote may be a bit extreme (and dangerous), it really does show the level of emotion music-on-vinyl lovers have with their records. You may have also noticed he made no mention at all about a CD collection or saving his iPod. Those are all replaceable objects where vinyl usually has a lot of sentimental value to their owners. There always seems to be a story or memory associated with our records. Hollywood even made a hit movie devoted to the subject, starring John Cusack; and that type of relationship with music has been seriously lacking since the CD and digital music made their appearance. Could this be one of the reasons why recorded music sales have declined so much?

“…is there anything more soulless than a downloaded collection of music then compressed onto your i-pod?…”

Artwork and packaging are other major factors in vinyl’s appeal. A lot of people are unaware that at one time records were sold in plain cardboard jackets. In 1939, record companies really had no idea how low their sales were until a graphic artist named Alex Steinweiss proposed to Columbia Records that he design original artwork for the jacket covers. Sales skyrockted after that and a record’s art and packaging became an important part of record album. Not just because of sales, but because music fans came to expect it. Part of the thrill of getting your hands on a great record is studying the artwork. Some people would even hang the jackets on their walls, like a poster. A lot of underground artists have always understood this and have continued to release records that could be described as a works of art themselves. Unfortunately, since CD’s and ultimately digital music has come into play, the packaging and artwork has become almost non-existent. Most people will be satisfied with convenience over quality, but there will always be a smaller group that will gladly pay for music that can be held in their hands and proudly displayed.

-“While the record was doing it’s thing at 33 1/3 rpm we would sit and look at the record’s artwork. We’d smoke cigarettes and drink cider as we wondered if there was ever going to be anything as important as our records…”_

Part of Hifidelics’ goal is to encourage and assist artists in releasing non-traditional vinyl records (of any size, length) where music fans feel a connection and are excited to get their hands on it. Let’s work together to give them a record that will encompass quality, creativity and emotion.

If you’re interested in learning more about Hifidelics.com and how it works, please visit our post: Hifidelics – Crowdsourcing Vinyl Records

[ mirror post on corporate blog ]

MP3 Killer - about 9 months ago

by Erik Peterson

Just having a little fun with this one. I thought it was kind of funny.

I don’t remember exactly where I found the image, but after a little research I discovered it’s actually for a t-shirt. We have no affiliation with them, but if you like it enough, feel free to check it out.

Packaging & Design Inspiration - about 9 months ago

by Erik Peterson

I just stumbled across the video above the other day. It’s a handmade booklet of records from old Reader’s Digest books, from PIATK Records. Pages include band artwork, while other pages contain a 5″ vinyl record resting in a pocket. Labor intensive, yes; but it’s very cool and it’s something that will never be reproduced.

I realize it’s not always easy to think outside the box when it comes to vinyl records and their packaging. I mean, they’re round and they come in a sleeve or jacket. How else can they be more customized other than in record size, shape and color?

As you may already be aware, part of the Hifidelics experience is in artists releasing very limited edition records in their own packaging concept. While artists DO have the option of releasing black vinyl in your standard cardboard sleeve, we strongly encourage they push their creativity and release something grand; a limited record that everyone must get their hands on. Admittedly, there are not a lot of examples out there to get the creative juices flowing if you don’t already have a concept in mind. So I collected a few of the interesting recent vinyl releases I have run across in the last couple weeks for some inspiration.

Someone on Twitter was showing off some of his vinyl gems and this photo caught my eye. It’s a limited edition 12″ ep with grooves on only one side and a stenciled image on the other, from Chicago Thrash Ensemble. It comes complete with a nice, clear jacket and a baseball card collection of the band members. Apparently, there were only (100) copies pressed. Please keep in mind, on Hifidelics it’s not just about the record, but the full presentation. If you have other artwork that goes with the record that is just fine.

Last, but certainly not least, is a 2011 double-vinyl release from Explosions in the Sky. You really have to see all the angle views of this, because it’s pretty darn incredible! I’ve never seen anything like this release, but I know you can beat it; or at the very least, match it’s cool factor.

Hopefully these examples spark some ideas to start putting your plans into action. I’m getting anxious! I want to get some records out by you guys! :) If you have any questions or need to discuss some things about your release, please feel free to contact me or hifidelics@gmail.com

[ mirror post on corporate blog ]