Mastering for vinyl vs. streaming, Part 3

There’s some important technical differences in audio mastering for digital vs. analog playback mediums. Back in Part 2 of this series, we compared panning and phase decisions in the digital vs. analog world of mixing. Today, it’s all about high frequency considerations.

Vinyl high frequencies

In a vinyl production, we want to watch out for any large spikes in overall volume in the high frequencies from 10kHz-20kHz. Too much bright high end in a mix, especially high frequencies panned hard into the side channels, can cause a “smearing” effect in the high range across the entire record when the cut is made.

This happens because you’re asking the cutter head on the vinyl lathe to be in about 4 places at once: left to right inside of the record groove, while cutting very subtly up and down at the same time. Since this isn’t physically possible (a cutting needle can only cut in one place at a time), you can get a reduction in high-end clarity everywhere on the record: less depth and dimensionality to your reverbs, less clarity in your ride cymbals, and a tighter, less airy feel across the mix.

This is also why vinyl’s sometimes perceived as having a “warmer” sound; limitations of the medium itself naturally roll off some of the highs and promote clearer, more focused bass sounds.

Solutions

How to fix this issue? When mixing:

• Avoid making large boosts in the 10-20k area

• Be subtle in your use of hard-panned reverbs

• Save the very highest frequencies over 15kHz for a minimal number of instruments and special effects.