The record pressing plant will press 5 -10 copies (test pressings) and send them to you. I strongly recommend that you send a couple of these test pressings to your cutting studio to review. Your cutting engineer is the only person who knows how your record should sound. I mean, you know how your music should sound, but the cutting engineer knows how the record should sound. And even more importantly, what the test pressings should sound like.
Here’s the rest of the story.: Test pressings are not perfect. Even when everything else in the process is done perfectly, sometimes test pressings will exhibit flaws. You have to be able to tell the difference between serious defects in the process, and ordinary flaws that are associated with the test pressings.
Almost every pressing plant utilizes a manual type press to make test pressings. They are not often made in ideal conditions, and always seem to be more noisy than the final records are. There are several reasons for this: It’s a different press, the temperature might not be optimum, and the quality of the vinyl may not be the same as they will use for your final run.
So, with all these potential flaws, why are we paying for test pressings? You must listen to your metal work before pressing up thousands of pressings. If there is a serious flaw, it’s much better to catch it before the big press run and all of the packaging costs. The main problem is, it takes so many steps to get from master to lacquer to father to mother and stamper and shipped back to you.
So, when you get your test pressings what are you supposed to listen for?
1. Any major flaw that would ruin the record. Skips, locked groves (repeats)
2. Other audible flaws that would detract from the listening experience. Once around or swishing sounds. Harshness, excessive high frequency distortion called Sibilants.
3. Surface flaws that may be annoying, and may be part of making records. Clicks and pops: Small ones are normal, but, really loud ones that are plainly audible need to be investigated.
4. Oh yeah, and don’t forget to check the running order, gaps and any inscriptions in the “dead wax.”
Here is the big issue: All test pressings have noises. Making a super short run on a manual press, it’s just going to be noisy. The good news is, your final records should be quieter than your test pressings. But there is a catch, and this is why we want to have more than 1 or 2 test pressing available.
If a noise—even a loud pop—is not audible on every test pressing, then the stamper is likely good and the process can be continued. But, if that noise is on every test pressing, then plant should be contacted, alerted to a potential flaw in the stamper, and you should wait their reply.
When you (we) contact the pressing plant this is what they are ask for:
1. Is the defect visible? If it is measured with a stick ruler from the center hole to the defect, tell the plant “at 5 1/2 “ from the center there is a hashy streak that’s visible. If it’s a visible flaw but doesn’t have any annoying sound associated with it, you can safely ignore it.
2. Is the defect a repeated or cyclic noise? If so, mention when you first hear it and when it stops. Some defect sounds are only audible between songs. A particularly bad one is a squealing sound. It might just be one squeak, or it could be a sustained whistle-like sound. This isn’t good and needs to be brought to the plant’s attention.
This is a good time to remind you that the pressing plant doesn’t listen to the records that they make. There are exceptions, but I don’t think any plant listens to the entire record. They spot check it only, and often miss some issues. Also, the playback environment within a pressing plant are often too noisy to have good play back listening.
The moral of the story is, you (we) have to evaluate your test pressings to make sure that errors and molding defects are not going to spoil your records. And, you did leave yourself some extra time in case the test pressings don’t sound right? Add an extra 2 to 3 weeks to the delivery time in case you have to reject the test pressings.
To document the disk, this is what i like to do. I sit down in a QUIET room without interruptions, and I have my headphones, a stopwatch and a pad of paper. As the record plays, if i hear anything that is loud enough to be disturbing, I note the time. I reset the stopwatch to zero and start it again at the top of every song. So, your list might look like this (if the test pressing is bad):
Side A (test pressing #3 of 5)
Noise in lead in – swishing sound. once around, noise floor is not consistent.
0:30 loud pop (this is also audible on TP 4 but not on tp 5 or 6)
1:12 5 quick clicks in a row.
Noise floor is steady – slight surface noise, not swishy
1:02 – 1:19 several loud pops – these are all audible on all of the test pressings, but not all as loud as TP3.
Also, note the surface noise between each song and at the end. Some noises are ok. Only the cutting engineer and a trained ear at the pressing plant can truly tell if a noise is bad enough to be rejected. Records have noises… we like that about records. But they shouldn’t have a lot of really loud noises.
It takes practice to listen to test pressings and make sense of it all. Try to not make any guesses about what is causing the defect. It may be impossible for you to know – it’s difficult enough for us to know. But use the best onomatopoeia words that you can think of to describe the noise or defect. Scratch, click, pop, scrape, bump, thump, ring, sizzle, crackle, snap, rattle, rumble… remember the sounds these words make when you say them resemble the sound you are trying to describe.
Compare notes with everyone that received test pressings. Call your cutting engineer (you do know who cut your record, right?) You didn’t just send off a digital file to the plant to be cut? Your cutting engineer, if he or she is really dedicated to helping you make great sounding records, will review your test pressings for little or no cost. This is just simply a service we provide to help our clients wade through the confusing and frustrating parts of making a record. There isn’t any way you are going to get a great sounding record without the assistance of a cutting engineer. Because we can talk “record” with the plating plant.
Be patient, you can’t rush a great record. And do yourself an huge favor and do not book your record release event until you have approved the test pressings and have a confirmed delivery date from your plant. Even then, add two weeks for problems in the plant, printing problems, and shipping issues.
There is a reason why mastering engineers and producers love great sounding records. We know how hard it is to get everything to happen perfectly. But, when it does, like magic, your music is transferred into a completely different listening experience.