We recommend that you (or the person preparing the master) read the articles “How Grooves Work” and “Dynamic Aspects” in the “Cutting” section of the “Insights” menu.

Once you have an idea of how the cutting process works, you will realize that it often does not make sense to "cut" or "reduce" anything from the master in the digital domain. This is because only the person cutting the master lacquer will have the electrical and physical evidence which, according to the cutting volume, the frequency spectrum, the stereo width and and the master's position on the side, will suggest whether or not an intervention is necessary.

Our suggestion, therefore, is to provide a well-balanced master that isn't too impoverished, either in terms of frequencies or stereo imaging.

3 things to avoid:

• dynamic range over 60dB (remember that a record's dynamic range varies between 55 and 65dB)
• excessive headroom in the file (it's unnecessary and it penalizes the D/A conversion)
• anti phase due to wrong electric connections

Our interventions:

• HPF at 35Hz (always)
• LPF a 17kHz (always)
• we apply an elliptical equalizer centered on a frequency that can vary from 150 to 400 Hz, depending on the detected groove depth variation, the side duration, etc.
• where necessary, we apply a light de-esser to avoid excessive accelerations and consequent possible HF distortion during playback.