How are records made from vinyl?

Answer 1

When a vinyl record player is played, the needle on the stylus retraces the groove that was cut into the record. Which recreates the sounds and causes the groove to bend and transfer the vibrations to a diaphragm in a speaker which picks up the sound and amplifies it.

Answer 2

To make a copy of a vinyl record, the first thing to obtain is a turntable. Take the line output from the turntable or the stereo system and connect it to a recorder. The recorder can be a CD recorder, a computer audio input port or some other dedicated recording unit.

Then simply play the record and capture the analog output to your recording device.

Answer 3

The following information is from a professional so do not get pissed! If you don't like the information that they have given you! ________________________________________________________________

Many of the engineers I spoke with noted that a wider frequency and dynamic range can be cut into a vinyl master than can be reproduced in playback. For example, extreme transients and high frequencies will distort because the stylus cannot properly track them in the disc's grooves.

Sibilance, the high-frequency noise burst that you get when the letters s, f, and t are emphasized, is a major issue that mastering engineers encounter. "Problematic sibilants typically fall in the 6 to 12 kHz range," Golden observes. "Because a CD can reproduce it without trouble, it isn't recognized as a problem area until you decide to make a vinyl record."

"I hear a lot of tracks, especially from indie musicians, that have extremely sibilant vocals," says Lyman. "It's something I'm always aware of when I'm mastering a CD, because I often cut a vinyl master of the same project. But when I get something that's already been mastered, and we're doing a straight cut from that master, I'll watch the high end. I try to cut it as flat as possible, without causing any distortion. If I have to do any high-frequency limiting, I let the artist know and see how much we can get away with on this end before we ask someone to change their mix or remaster it. Unfortunately, a lot of the rock stuff is coming through with more high end than is going to work properly on vinyl."

"In general, if you even think it sounds a little sibilant, chances are you should be de-essing the vocal," Golden recommends. "My rule of thumb is de-ess the vocal when you record it, then de-ess it again when you mix. It works much better if a little is done at both stages rather than trying to de-ess it all at once. A good de-esser can actually make the vocal sound brighter because the only time it affects the voice is during the s sound.

"Some vocalists learn to under pronounce the sibilant sound - that makes all of our jobs much easier," he adds. "But if you double a vocal that's already sibilant, you get twice the problem. Heavy compression and limiting can also make a non-problematic vocal very sibilant: the limiter will tend to pull up the s sound because most compressor/limiters don't work at the same threshold for high frequencies as they do for mid vocal frequencies. Consequently, the limiter doesn't see the s sound and opens up the level, adding even more sibilance."

As you'd expect, the current trend of heavy-handed compression and limiting in the recording industry does not lend itself to releases destined for vinyl. It's not uncommon for engineers to be given over-compressed masters with exaggerated highs that sound terrible on a record. Lyman recommends that artists prepare a separate master for a vinyl version of a project, one that has "a greater dynamic range and is not over limited."

Answer 4

See the link below, there is a very informative page which explains how a vinyl record is produced from start to finish.

Answer 5

How a Vinyl Record is made