Dubstepforum.com

If you want good fat sounding 10" acetates, hit me up.. My website is dcdubs.com

I cut halfspeed, so it's a good full range sound.. It's a wide MONO cut great for clubs.. pm me for info/discount..

say word

jaybird wrote:I cut halfspeed, so it's a good full range sound.. It's a wide MONO cut great for clubs.. pm me for info/discount..

No offence dude but do you actually know anything about sound and cutting?

this makes no fucking sense at all!

ahh,, do you..

Halfspeed is like: ummm..

remember hi-speed dubbing on a tape recorder?.. it's like the opposite.. By slowing down the recording, and the recorder, you get a better sound on playback.. it's very complicated, only a few cutters in the world do this..
it's called "the paradigm 1/2 speed process".

I also use my own eq curves when recording to punch up the low end, and give a crisp high end.. I can cut as loud as +14db/0 using halfspeed and my own eq curves..

I could do mastering too, but I only have a mono cutter head atm, and I use a presto.. not a scully or neumann...

A guy in the UK called miles does the halfspeed thing too, but in mastering.. He uses a neumann vms-80, and his cuts are out of sight. The loudest pressed record in my collection was done by him..

The dynamic range I can capture atm is 8hz-18Khz... verified using pink noise as a source, and wavelab to measure it.. +14db/0 reading off a Pioneer DJM-800...

miles: http://www.imastering.co.uk/engineers/miles_showell
read up on half-speed cutting: http://www.positive-feedback.com/Issue2/mastering.htm

www.dcdubs.com

My presto lathe..

I have engineered sound for over 10 years, and have gone to school for it.. I use cubase, but when I went to school I learned analog tape recording/editing/mastering, and some Pro-Tools TDM..

Jailbird, man.
Could you briefly explain what you IDEALLY need from a musicmaker to do your thing. Thanks for photo of your lathe.

The audio card that's going to the cutting amp is a RME Hammerfall Multiface, it can go to 24bit 96Khz.. When I'm using the lathe for myself in the studio, I send 24bit 48Khz in wav format to it.

I get my track to how i want it to sound, then I export it to wav.
I load it up in wavelab, and perform a couple of processes to set the riaa recording curve (or one of my custom curves, or process it for halfspeed). Then it is send to the lathe.

I'll record a couple of test cuts in a dead acetate.
Sometimes b/c of the riaa curve the wav might need some touching up eq wise, what I'll do is send the cuts through a turntable, back into wavelab to check that the frequency spectrum on the acetate is as close to the original source as possible. Once I get it to where I want it, I'll cut the full version on a fresh acetate.

Here's a cool youtube video you should check out...
http://www.youtube.com/watch?v=YmeYR7hfbec

Here's my friend marco in spain cutting on his neumann
http://es.youtube.com/watch?v=wVRngp2gsE8

Mono is the way to go if u want phat bass sound.
That's how they do them dubplates for reggae sounds.

I thought all sub bass frequencies had to be mono for vinyl pressing? As this would be the needle jump around?

skrewface wrote:Mono is the way to go if u want phat bass sound.
That's how they do them dubplates for reggae sounds.

I agree. Most clubs are runnin' mono systems anyways.. All pioneers have that little switch to change the mains from stereo to mono..

I can even show you how to wire your cartridges to force the PA into mono..

for those older cats that are in the know, I use the same setup as steve from jah freedom..

Dreamwarbird wrote:I thought all sub bass frequencies had to be mono for vinyl pressing? As this would be the needle jump around?

This is correct too. when dealing with stereo record cutting, it's best to mono everything below 700hz.. Most stereo heads use a feedback signal with the recording curve that is out of phase and it's run back through the board into the signal with the inverse recording curve going to the cutter, this causes resonant frequencies to cancel out. Gives a better sound, but it can fuck up the head if the phase is changing rapidly.. I don't have this problem, coz it's all mono'd..

But with stereo, there are still 2 tracks cut into the acetate, and with my mono cutter, it's just a wide track of mono.. I can fit more bass in the same space, then the stereo guys..

Hello Jaybird.
This looks interesting but I have a few questions for you.

The dynamic range I can capture atm is 8hz-18Khz... verified using pink noise as a source, and wavelab to measure it.. +14db/0 reading off a Pioneer DJM-800...

What type of head are you using? and is this flat from 8hz-18k?
Are you doing all your processing in the box?

I also use my own eq curves when recording to punch up the low end, and give a crisp high end.. I can cut as loud as +14db/0 using halfspeed and my own eq curves..

What is your reference point because +14db means nothing unless we have a reference scale.Also what type amps are you using?.
Regards
Jason

DJM 800...

Dear God!

had a feeling this would happen...chefal and jason bringing the knowledge

still you can't fault the man for having an interest in it.

I've learnt more about how dubs are cut in these types of threads than any other reading ive done

Transition have big competition hahaha, why would you post a thread like this you know you gonna dissed. I dont know shit about cutting dubplates for the record.

Spaniard wrote:Transition have big competition hahaha, why would you post a thread like this you know you gonna dissed. I dont know shit about cutting dubplates for the record.

Why not?

I am not dissin the original poster. I am only interested in his system and its spec.
Jason

skrewface wrote:

Spaniard wrote:Transition have big competition hahaha, why would you post a thread like this you know you gonna dissed. I dont know shit about cutting dubplates for the record.

Why not?

Possibly because Transition have the best reputation for cutting dubplates.