How to Supply Audio for the Best Vinyl Cut
A practical checklist for anyone preparing audio for a lathe cut order. These are the things that make the difference between a smooth cutting session and one that needs additional preparation, revised files, or extended testing.
Supply WAV or AIFF
These are uncompressed formats and are the correct choice for a cutting session. Supply the file at the native sample rate and bit depth from your DAW or mastering session. Do not convert to 16-bit 44.1kHz if your session runs at a higher resolution — there is no benefit and there may be a loss of quality.
Avoid MP3 or AAC unless it is genuinely the only source
Lossy audio introduces compression artefacts in the high-frequency region that become encoded into the groove. If the only available version of a recording is an MP3, say so — that is a different situation from supplying a lossy file without mentioning it. Supplying an MP3 described as a vinyl master is not the same thing as a WAV master.
Tell your mastering engineer the destination is vinyl
If you are having the record professionally mastered, tell the engineer before the session that it is intended for vinyl cutting. A mastering engineer who knows this can make choices that work with the format — mono bass, appropriate dynamic range, managed high-frequency energy. This is the single most effective step you can take.
Do not apply arbitrary vinyl EQ curves to your master
There is a persistent idea that vinyl masters should have a specific EQ shape applied before cutting — boosted lows, rolled-off highs, or some other curve. This is a misunderstanding. The RIAA curve used in vinyl is applied and reversed by the cutting and playback chain. Applying additional EQ to the source based on an internet suggestion is likely to make things worse. If your mastering engineer does not specifically know what vinyl preparation involves, ask them or consider using the preparation option at Diz Lathe Cuts instead.
Check for excessive sibilance and abrasive percussion
Listen specifically on a mono speaker or earbuds. If you notice harsh, piercing "s" sounds or percussion that causes discomfort on a small speaker, this is likely to be a problem at the lathe. Address it before submitting.
Check bass phase and stereo low-frequency content
Play the mix in mono. The bass should remain present and solid. If it collapses significantly in mono, there is a phase problem in the low end that will cause groove issues. Stereo bass information below around 80–120Hz is problematic for vinyl.
Listen for clipping and distortion
Digital clipping that sounded acceptable in a streaming context can become more audible when cut to vinyl. Check your waveform for flat peaks and listen carefully for any harshness that might be clip-induced.
Clearly label sides and track order
Send files labelled with their side and position. "Side A Track 1", "Side A Track 2", "Side B Track 1" is clear. Unlabelled files or ambiguous naming creates delays and the possibility of error.
Supply correct sequencing
The order of the tracks on each side matters. Supply them in the order you want them to appear. If there are specific gap lengths between tracks, indicate this.
Tell us if the master should not be altered
If the audio is intentionally distorted, intentionally lo-fi, intentionally extreme in some way — and should not be adjusted — say so. If it is a creative decision rather than an unintentional problem, we need to know. We will not alter audio without reason, but we will flag things that look like they might be issues. Context helps.
Do not simply reduce your digital master by 6dB and call it a vinyl master
This is one of the most common misconceptions about preparing audio for vinyl. Reducing the overall level changes the amplitude of the signal and reduces groove excursion. It does not change the spectral character, the bass phase behaviour, the sibilance, or any of the other programme characteristics that create vinyl cutting challenges. A quieter version of a digital master is a quieter digital master. It is not a vinyl master.
Not sure about your files? If you have followed this checklist and still have concerns, the vinyl preparation option covers assessment and corrective work before cutting begins. What does preparation involve?