company video<\/a>.<\/p>\nDirect Metal Mastering (DMM):<\/strong>\u00a0 (see also\u00a0Lacquers<\/strong>\u00a0and\u00a0Lathe<\/strong>\u00a0below).\u00a0 This is a technology developed in the mid-1980\u2019s for cutting masters for record manufacturing.\u00a0 Instead of cutting into a blank\u00a0lacquer<\/strong>, grooves are cut into a blank copper disc via a specially equipped\u00a0lathe<\/strong>.\u00a0\u00a0Since DMM was developed during the time period when vinyl was being overtaken by cassette tapes (and ultimately, compact discs) as the dominant consumer music formats, use and R&D work was not extensively implemented in the technology.\u00a0 Most of the DMM lathes that were built have since been converted to cut lacquers instead of copper discs.\u00a0 In the United States, there are no currently operating mastering facilities using the DMM method of cutting masters.<\/p>\nDownloads \/ Download Codes:<\/strong>\u00a0\u00a0Many modern records include a coupon inside the record jacket with a unique code enabling the consumer to redeem a digital version of the\u00a0Program Material<\/strong>\u00a0embodied on the record, and\/or other bonus material. \u00a0Gotta Groove provides an inclusive download hosting service for digital audio and video content as an add-on item to orders.<\/p>\nElectroforming:\u00a0<\/strong>The forming (or growing) of a metal onto the face of a substrate. \u00a0This process is used in many industries where very accurate replicas of a substrate are a requirement. \u00a0In record manufacturing, the substrate is the cut\u00a0Lacquer. \u00a0<\/strong>The cut lacquer is cleaned and then sprayed with a silver solution. \u00a0This sprayed lacquer is then put into a bath of nickel sulfamate solution. \u00a0When an electric current is run through the bath, nickel atoms are drawn to the face of the silvered lacquer, and a nickel layer \u201cgrows\u201d on the face. \u00a0When this nickel layer is removed from the lacquer, the removed layer becomes the\u00a0father<\/strong>\u00a0or\u00a0stamper<\/strong>.<\/p>\nFathers<\/strong>: A\u00a0Father<\/strong>\u00a0is the inverse of a cut lacquer \u2013 instead of playable grooves the face of the father consists of the inverse of grooves \u2014 peaks. \u00a0A father is used to create a\u00a0Mother<\/strong>, and is then either stored for future use (in 3-step plating) or, converted to a\u00a0Stamper<\/strong>\u00a0(in 2-step plating). \u00a0Fathers are sometimes called the Metal Master.<\/p>\nInnersleeve:<\/strong>\u00a0\u00a0Also referred to as a \u201cdust sleeve\u201d or \u201cbag\u201d, this the the paper sleeve that the record is directly inserted into. \u00a0Gotta Groove Records record pricing includes blank innersleeves by default. \u00a0But, you can also order printed artwork and\/or text on innersleeves. \u00a0Blank innersleeves most commonly have a diecut hole on each side so the record\u00a0Label<\/strong>\u00a0can show through. \u00a0Printed innersleeves can be produced with our without diecut holes. \u00a0Plain paper innersleeves can cause surface scratches to the face of the record, which over time can sound. \u00a0Cardstock innersleeves exacerbate this surface scratch propensity, and therefore are not recommended by Gotta Groove.<\/p>\nInsert:<\/strong>\u00a0\u00a0At Gotta Groove, we refer to anything that is being inserted into a record jacket other than the sleeved record and download codes as an insert. \u00a0Our standard inserts are 11\u00d711\u2033 (for 12\u2033 records) or 7\u00d77\u2033 (for 7\u2033 records). \u00a0But, inserts can really be many different sizes and formats \u2013 stickers inserted into jackets, postcards, cds or dvds stuffed into a jacket, etc. \u00a0Some folks refer to Innersleeves as inserts, but we prefer to use the term \u201cinsert\u201d for anything that is not an innersleeve but is going into a record jacket.<\/p>\nGrooveCoated ™ Stampers:\u00a0<\/strong>\u00a0This is a specialty\u00a0stamper available through Gotta Groove Records, which were developed by NiPro Optics for Gotta Groove Records in 2017-2018.\u00a0 These stampers have a specialized lubricious coating applied after nickel formation that reduces surface tension while increasing surface hardness.\u00a0 Depending upon the cut, this combination can dramatically increase the lifespan of the stamper, and reduce high frequency loss as pressing cycles continue over the course of manufacturing.\u00a0 With traditional record plating technology, over the course of the cycles of a pressing, the high frequencies tend to diminish first as the cycles go on.\u00a0 While this is always going to be a natural phenomenon in the course of pressing vinyl records, GrooveCoated stampers dramatically strengthen the grooves on the face of the stamper, and allows better material flow.<\/p>\nJackets:<\/strong>\u00a0Also commonly referred to as a \u201ccover\u201d a jacket is the outer pocket that records are inserted into \u2013 records first go into an\u00a0Innersleeve<\/strong>, and are then inserted into the record jacket. \u00a0Jackets are most commonly made of cardstock, with the printing done directly onto the white cardstock (this is called Direct To Board print\u2013 \u00a0also see\u00a0Tip-On Jackets<\/strong>\u00a0below. ).<\/p>\nLabel:<\/strong>\u00a0The paper circle in the middle of a pressed record. \u00a0Sometimes referred to as a \u201csticker\u201d, a record label is actually not adhered to the face of the disc after pressing \u2013 it is an integral part of the pressing process, and serves to cool the middle of the record while it is being pressed.<\/p>\nLacquers:<\/strong>\u00a0 A blank lacquer is an aluminum disc that is coated with a nitrocellulose lacquer layer. \u00a0There are currently two manufacturers of blank lacquers in the world \u2013 Apollo\/Transco and MDC. \u00a0A lacquer is also the first step in the vinyl manufacturing process \u2013 grooves are cut into the face of the blank lacquer via a machine called a\u00a0lathe<\/strong>. \u00a0While a lacquer can be played on a turntable, master lacquers that are going to be used for a real pressing job are never played \u2013 they are sent directly to an electroplating facility to be used as the substrate in the\u00a0Electroforming<\/strong>\u00a0process that makes the metal parts which are eventually used to press records. \u00a0Cut lacquers are sometimes called the Master.<\/p>\nLathe:\u00a0<\/strong>A record lathe is a machine used to cut the grooves into the face of a blank\u00a0lacquer<\/strong>. \u00a0This machine is not a record press \u2013 this is a machine designed\u00a0to make single cuts of master recordings into blank lacquers, not to mass produce pressed records.<\/p>\nMatrix Inscription \/ Matrix Number:<\/strong>\u00a0Sometimes also referred to as a \u201cscribe\u201d or \u201cscribe number\u201d. \u00a0The alphanumeric identifier that is etched into the lead-out (matrix) area of the record. \u00a0Most frequently, this number matches the \u201cCatalog Number\u201d or \u201cSelection Number\u201d, but it is actually arbitrary \u2013 it just has to be something that is somewhat unique. \u00a0The matrix inscription is important to both the plating dept and the pressing dept, because it is the only way of visually identifying lacquers and metal parts.<\/p>\nMothers<\/strong>: The metal plate that is two steps removed from a cut\u00a0Lacquer<\/strong>\u00a0\u2014 a mother has grooves on its face, and can be played on a turntable. \u00a0A mother is used to make\u00a0Stampers<\/strong>.<\/p>\nNonfill:<\/strong>\u00a0\u00a0 (See also,\u00a0Stitching<\/strong>) \u2013 Nonfill is a PVC molding-related challenge when pressing some records. \u00a0Nonfill is difficult to see with the naked eye, but can be visible under magnification. \u00a0When it is audible, nonfill can cause a crackly type sound. \u00a0Some records are more susceptible to issues such as stitching and nonfill than others, depending upon the program material and the physical characteristics of the grooves.<\/p>\nOverrun \/ Underrun:<\/strong>\u00a0 In the vinyl manufacturing world (and in the manufacturing world in general), you will see terms like \u201c10% Overrun or Underrun Constitutes A Complete\/Acceptable Order\u201d.\u00a0 This means that the final shipment quantity make be 10% more or 10% less than the purchase order quantity that you order.\u00a0 The reason for this common policy is that scrap rates can vary at each point in the manufacturing process.\u00a0 Each \u201cpart\u201d in your record project (the term \u201cpart\u201d meaning the separate components \u2013 records, jackets, inserts, etc) may have different scrap rates.\u00a0 So, after final assembly\/inspection, there may be plenty of good records done, but jacket scrap was a bit higher than normal, so there are more records than jackets.\u00a0 Or, there may be something in final inspection that causes records to be scrapped which were initially passed in the pressing stage.\u00a0 Efforts are made to run extra of each component, when each component is in its own unique manufacturing process.\u00a0 But, the final count is never known until all inspection\/assembly is complete.\u00a0 A very common example is when there are multiple color variants run in a single order.\u00a0 For example, and order for 200 black \/ 200 green \/ 100 blue \u2014 each color may have its own individual scrap rate, and the final count would be 225 black \/ 195 green \/ 105 blue.\u00a0 This would be considered a complete and acceptable order.\u00a0 \u00a0At Gotta Groove, we make strong efforts to always ship at least the purchase order quantity.\u00a0 In most cases, there will also be extra copies.\u00a0 GGR does\u00a0not<\/strong>\u00a0charge for these extra copies (with the exception of assembly tasks, such as shrinkwrap or stickering- you are charged per-unit based upon the actual quantity assembled for these items).\u00a0 There are some cases where slightly less than the ordered quantity may be shipped.\u00a0 While these situations are extremely rare, they are a possibility in the manufacturing world, and should be taken into account when ordering vinyl record manufacturing.<\/p>\nPolybags:<\/strong>\u00a0\u00a0No-Flap polybags are clear plastic \u201csleeves\u201d which a jacketed record is inserted into. \u00a0Most record stores will polybag their used records. \u00a0No-Flap polybags are open at the top. \u00a0Resealable polybags have a flap at the top and an adhesive strip which enables the end purchaser to open and re-seal the flap at the top of the polybag.<\/p>\nPolylined Innersleeve:<\/strong>\u00a0 An innersleeve with a plastic liner on the inside, designed to better protect the face of the record from surface scratches.<\/p>\nPremaster:<\/strong>\u00a0\u00a0In the digital age, many records are cut from a digital source. \u00a0In most cases, a high resolution source is eq\u2019d \/ mastered specifically for vinyl. \u00a0This new file is called the vinyl premaster. \u00a0Gotta Groove strongly urges all customers to have a vinyl premaster made by a reputable professional who regularly works with the vinyl format before submitting audio to be cut.<\/p>\nProgram \/ Program Material:<\/strong>\u00a0\u00a0The underlying subject source audio embodied in a record.<\/p>\nRecord Press:<\/strong>\u00a0\u00a0A hydraulic press that compresses the vinyl\u00a0Biscuit<\/strong>\u00a0between two stampers and produces pressed records. \u00a0Pressed records are not made from blank discs.<\/p>\nReference Lacquers:<\/strong>\u00a0\u00a0Similar to lacquers above in that these are aluminum discs with a nitrocellulose coating, grooves are cut with a lathe into the face of these for listening instead of for electroforming. \u00a0Reference lacquers are used to ensure that the program material is translating to the phonograph\u00a0medium in an acceptable manner. \u00a0(Also, see Test Cuts below). \u00a0Neither test cuts or reference lacquers are a substitute for\u00a0Test Pressings<\/strong>.<\/p>\nShrinkwrap:<\/strong>\u00a0The clear plastic wrap that, when ordered, seals the record.<\/p>\nStampers<\/strong>: The metal part that is affixed to a record press, which stamps grooves into melted vinyl\u00a0Biscuits<\/strong>. \u00a0Stampers are the inverse of grooves \u2014 peaks instead of grooves.<\/p>\nStitching:<\/strong>\u00a0 (See also,\u00a0Nonfill<\/strong>) \u2013 Stitching is a PVC molding-related challenge when pressing some records. \u00a0Visually, it appears like lines perpendicular to grooves, sometimes even resembling a scratch. \u00a0When it is audible, stitching can cause a \u201czip\u201d type sound. \u00a0Some records are more susceptible to issues such as stitching and nonfill than others, depending upon the program material and the physical characteristics of the grooves.<\/p>\nStock Marks:\u00a0<\/strong>Sometimes also referred to as \u201cdimples\u201d, these are visual blemishes sometimes on the face of a record. \u00a0Many are purely visual and do not cause a sound issue. \u00a0Some may cause a \u201cheartbeat\u201d type thump when the stylus travels over them.<\/p>\nTest Cuts:<\/strong>\u00a0This is a service offered by Gotta Groove for 12\u2033 orders, similar to Reference Lacquers in that they are\u00a0used to ensure that the program material is translating to the phonograph\u00a0medium in an acceptable manner. \u00a0 However, instead of being a physical lacquer disc embodying the entire program material sent out for approval,\u00a0instead only samples of the program are cut into a lacquer and then played back and recorded into a wav file to be emailed for approval. \u00a0 Neither test cuts or reference lacquers are a substitute for\u00a0Test Pressings<\/strong>.<\/p>\nTest Pressings:<\/strong>\u00a0\u00a0These are actual pressed records, but typically are the first time that records are being pressed from a set of\u00a0Stampers<\/strong>. \u00a0They are made from the same material as production records, and have the same groove information. \u00a0They typically have labels which designate them as test pressings. \u00a0They are the \u201cfinal approval\u201d mechanism before productions copies of a particular program are produced.<\/p>\nTimelog:<\/strong>\u00a0 This is a document which shows the start\/end\/duration of each track or \u201csong\u201d on a record.\u00a0 Very similar to a PQ log for CD audio \u2013 however, the document should start over at zero at the beginning of each side.\u00a0 This document is particularly useful when cutting lacquers from a digital source, and is needed to accurately place\u00a0Track Bands<\/strong>.<\/p>\nTip-On Jackets:<\/strong>\u00a0\u00a0This type of record jacket is commonly viewed as a deluxe upgrade. \u00a0In this type of printing, the actual print is done on a separate sheet of text paper which is ultimately wrapped and glued to a thick corrugated core. \u00a0Gotta Groove tip-on jackets use extremely thick corrugated cores, and include matte or gloss lamination.<\/p>\nTrack Bands:<\/strong>\u00a0These are the visible \u201cspaces\u201d or track breaks on the face of a record.\u00a0 Contrary to common believe, track bands do not add any silence to the audio \u2013 you are seeing the spacing between the grooves.\u00a0 So, songs can segue from one to another without any sort of audible silence, but you can still have the ability to drop the stylus between tracks upon playback of the record.\u00a0 Noting track times to the cutting engineer is extremely important, to ensure that track bands are placed visibly on the record where they should appear \u2013 they are not automatic, so just having silence between songs does not automatically cause the visible spaces.\u00a0 Track information is typically communicated via a\u00a0Timelog<\/strong>.<\/p>\nUPC\/Bar Code:<\/strong>\u00a0 As with most any consumer product, many records have bar codes. \u00a0You can order these from GGR. \u00a0If you have a bar code on your record at all (some records do not), it does need to be unique to that record \u2014 not the same as your CD release. \u00a0Also, if you work with a distributor, most distributors prefer each color\/variant of the same release to have its own unique bar code.<\/p>\n <\/p>\n
Glossary of Common Vinyl Terms<\/a><\/p><\/blockquote>\n