Hey guys. I am having this same issue.. It seems that anytime I prompt the software to open a popup box.. (Save As, Import, Export or whatever it may be) it will not pop up. I can drag an image into vinyl master, but it will not let me save as. The thing is that this shouldn't be an issue with software like this that has been around for years.. Thanks

I bought a refurb cutter and stand and it came with Vinylmaster Cut Software free download. I don't know what version it is or where to look for that info but I use Windows 10 professional OS and I create in CorelDraw X5 and export my vector images as .eps, .ai, pdf or jpg. So far, the only image extension the software will let me import is a jpg. When I tried to import the .ai an error message told me to save it in Adobe Illustrator version 8 which I can't choose from CorelDraw. Had I known it wasn't going to work I would have bought something that would. This is a lot of "wo-"manhours spent with tutorials and trials and errors and I still can't import any of the above listed files with the extensions the tutorials said I should use. I was using LXi8 for years with all those file extensions and could vectorize jpg and bmp in it but that company has since closed and not supporting it any longer as best I can tell. Is Vinylmaster Cut Software supposed to be capable of importing the above listed file extensions in Windows 10 Professional?

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LXI software is still being sold. It is a rebranded Flexi software. Which cutter did you buy? Most major software will save as an .eps file format. Vinyl master imports .eps. Here is their import and export format list. You can find that under HELP at the top of your layout screen. A lot of useful info there. Look up IMPORT.

This article dives into the unique characteristics of the vinyl format. We also discuss the decades-long strategies used by cutting facilities and mastering engineers to ensure the best representation of modern music on vinyl.

Mixing and mastering are two different workflows, something mightily apparent when you consider Neutron and Ozone. There is a noted difference in scale between measurements, and in how the tools are laid out.

Vinyl mastering facilities rely on de-essers that are built for this particular problem. Several known outboard de-essers through the years include the Maselec MDS-2 and the Orban 536-A. But many vinyl cutters have been benefitting from the constant development and growing versatility of the plug-in world. Peter Hewitt-Dutton of The Bakery takes advantage of de-esser plug-ins particularly for half-speed vinyl cutting.

Optimizing the length of your music per side and keeping an eye on the optimal frequency makeup of your music is possible with tools like Tonal Balance Control Tonal Balance Control 2 Get decades of mastering expertise in your next session with Tonal Balance Control 2, a plug-in that helps you overcome your listening environment and achieve a balanced mix. View the frequency balance in your track and compare to genre targets, upload your own unique custom curve, and create with confidence that your music will translate. Shop Now Try Now . Knowing that the low end frequency range takes up significantly more room on a vinyl disc, Tonal Balance Control allows you to keep an eye on subharmonic low end build-up that could cause your music to take up more space than necessary on a vinyl record.

Exporting: Export fully-assembled SIDE A & SIDE B masters. Rather than delivering the individual files, exporting each side as its own cutting master lessens the margin of error on both the sequence and spacing.

PQ Logs: Including a proper PQ log for each side lessens the time it takes for the vinyl cutter to identify where the band marks (track starts) are throughout the record. You can obtain a PQ log from any standard mastering DAW or from DDP programs like the Sonoris DDP Creator.

Catalog/Scribe numbers: Scribe numbers are a unique string of alphanumeric characters determined by the client that is etched on to the lacquer master to help identify a vinyl record throughout the manufacturing process. Numerous vinyl cutting sessions have had unnecessary delays because of scribe numbers not being ready on time. The sooner your clients have their scribe numbers ready, the smoother the vinyl manufacturing process will go.

Read this supplementary article featuring interviews with vinyl pros as we delve deeper into the thriving world of vinyl through each of their perspectives. In addition to a few listening examples, we also dive into a conversation about current trends, standards and innovations in the vinyl industry.

Your Masters that are created for digital use (Streaming/download/CD) are the no-compromise, perfect sound quality version you as the the artist wants. On digital platforms, and on CD there are virtually no creative limitations to what can be achieved in the stereo mix and master, as digital playback systems can deal with it.

Often masters for digital are accepted by the vinyl pressing plant, as they are technically OK to press on vinyl, but the end result could be disappointing sound quality which may sound less vibrant than the same masters listened to on digital streaming platforms like Spotify or a CD.

In contrast to what you might expect, the louder and heavier the digital master is, the flatter, quieter and generally more-rubbish-sounding the vinyl will usually be! Why? Because the dynamic range on vinyl is massively less than is available on digital formats, so compromises must be made at the pressing plant to compensate for your massive digital master.

So we did a little restoration: We restored the dynamic transients from the original CD masters, increasing the dynamic range, restoring life, bounce and natural energy, and ensuring a stomping vinyl cut!.

To the listener it sounds very much the same as the previous masters, but the new files are much more suited for the vinyl medium. Mastering for vinyl specs will give a better quality cut, and generally soundbetter.

You can try our online mastering free, just upload a track. When you are ready for full mastering, consider getting pre-vinyl masters done at the same time if you are getting vinyl pressed, or even just a few custom vinyl record dublates.

Mastering for vinyl is the process of creating a separate master that can be cut into a vinyl record without added unwanted distortion. It consists of a mono stereo image up to 150Hz, a tamed high end, and if needed, a track listing that is consistent with the frequency limitations of record cutting.

Also, when you consider that you will be unable to hear, approve of, or change any alterations made by a vinyl cutter prior to the actual cutting of the disc, it may be best to implement these changes during the mastering process.

With that said, if you are considering distributing your album in the form of vinyl records, you should absolutely have a secondary master. Make one that was created with vinyl cutting and reproduction in mind.

It goes without saying, the digital and vinyl formats are completely different in terms of their mediums and storage capabilities. In a digital format, analog signals are converted into digital information by means of quantization and sampling.

The other alternative, is that the vinyl cutter will recognize and adjust for this volume differential, by decreasing the overall dynamics of the track using compression or mormalization. This increased compression or normalization will result in the opposite of the original intended effect.

The needle can also skip when high energy low frequencies are out of phase. Although this is easier for the vinyl cutter to fix without causing a noticeable difference is sonic characteristics, it is still wise to fix this before the cutting process.

The playability of a record was once a huge area of concern for manufacturers and labels alike - so much so that they created regulations for vinyl cutting, designed to ensure the adequate playback of vinyl records across even the most basic of consumer devices.

When vinyl cutters use a digital master, with its increased amplitudes, low end phasing issues, and overall more demanding specifications, it may not reflect negatively on their systems during playback.

Knowing how to master for vinyl may mean the difference between being able to keep a client, and losing a client to a mastering engineer or studio that masters for the vinyl cutting and reproduction process.

Although there is some debate as to how much a vinyl record can handle low frequencies in a stereo format, creating a mono image for the low end is widely supported. Doing so means keeping a focused stereo image, in which the bass, the kick, and any other low-end instrumentation is kept mono.

Although at this point you can be almost certain your low-end is mono, check with a stereo imager or sound field analyzer to ascertain this prior to completing your master. This way you can be certain your master has a mono image of up to 150Hz, prior to completing your master.

When mastering for vinyl, controlling dynamics takes on a different and wholly unique purpose. If a master used for cutting a lacquer is too dynamic, then the greater amplitude will cause a significant cut into the vinyl.

The significant cut can cause consumer-grade needles to jump out of place, and cause what is often referred to as a skipping record. With that said, greater amounts of compression or dynamic control may be needed to adequately prepare a master for the vinyl cutting process.

However, if limiting is avoided, a quieter master can be provided that still retains a fair amount of its dynamics, without the risks of a significant cut and a subsequent skipping record.

Like most things when mastering, be sure to use this effect sparingly. If the low-level compression is significantly amplifying distortion or psychoacoustic effects, this can have a negative impact on a master intended for vinyl. be457b7860

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