For some reason, the people involved with the manufacturing of vinyl records are rather stoic types. The rare occasion when they are in a talkative mood, they mostly talk about the manufacturing process and equipment. They are not often talking about what happens after the records have been manufactured, the actual reproduction of these records, for pleasure or for the most critical step of manufacturing: Quality control.
What follows is the story of the restoration, modification, assembly, calibration and testing, of some components, which, if used properly, can result in a highly accurate phonograph disk reproduction system.
Working together with Eric on upgrading his Scully Disk mastering system, Sabine grabbed the chance to give our readers a little peek into the head of an experienced mastering engineer. Eric Conn works together with Don Cobb and a small Dog called Chaco at Independent Mastering in Nashville, Tennessee.
There is a long history of use of precious stones as industrial materials, from precision bearings to cutting tools, lapping compounds to grinding tools and several other specialised applications.
The recording of phonograph records is essentially a machining operation, performed by means of a machine tool called a disk recording lathe. A special cutting tool is used to cut a continuous spiral groove on the surface of a blank disk. This tool is called a disk recording stylus, or simply cutting stylus.
The big difference to other forms of machining is that there is sonic information stored as modulation of the cut groove, which can be reproduced on another special machine, often called turntable or record player, or disk reproduction system.
Many different stylus materials and geometries have been used through the years, along with different blank recording disk materials. The superiority of precious stones as cutting stylii was already evident from the early days of disk recording, so they are now the only type of stylus used for cutting masters for vinyl record manufacturing.
Meet George Vardis, a retired biologist with a Master’s Degree in Food Technology, residing in Athens, Greece. George is a sophisticated man with many interests, including sailing, photography, motorbikes, and music. He plays the piano and the guitar, but his career always steered well clear of the music industry. He was never a recording artist, nor was he a recording engineer. In fact, he has probably never seen a recording studio in real life.
John Delias, the guitar wizard of the popular rock group “Naxatras”, filmed J. I. Agnew while cutting the master lacquer disks, from which the vinyl records of their debut LP were manufactured, at Magnetic Fidelity, and edited the footage to produce this short informative video, offering an insight into this seldom seen, mysterious process.