Well everyone knows not to give a mastering engineer a track with the bass out of phase. The problem is how stereo is encoded on vinyl -- vertical motion is the difference between the signals and lateral motion is what's common between the signals.
Out of phase bass signals will make the groove shallower at the same time the needle is being pushed laterally, and the needle pops out of the groove. I have a test press from a Detroit label I won't name, cut by a mastering engineer I won't name, that skips because somehow it got cut with this problem, so I know it's not unheard of. On Wed, Oct 21, 2009 at 6:39 PM, Tristan Watkins <[email protected]> wrote: > On 21/10/2009 16:43, kent williams wrote: >> >> Which is why everything below 100HZ needs to be monophonic! A cutting >> engineer can't fix that without putting your music through a crossover >> and messing with the bass phase while checking a goniometer. They >> really hate that shit. > > It's interesting that Rashad Becker from D+M says it ain't so. > > Robert Henke: Does this imply that you can cut more complex signals if they > are in mono than if they are stereo? > > Rashad Becker: "Well in mono they /are/ less complex, so mono signals might > cause slightly less problems. But there is a huge myth about that you can > only cut bass in mono, thats something which is really resistantly in > producer's heads, *its absolutely not true!* > > I have been cutting several thousand of vinyls and I really have to think > hard about when ever I had to cripple a stereo bass signal beyond musical > recognition because it wasn't translatable to vinyl. That might be three > cases, in all that years." > > More here: http://www.monolake.de/interviews/mastering.html > > Cheers, > > Tristan > >
