Joomla! site syndication http://carverycuts.com/dubs Sun, 05 Sep 2010 20:55:46 +0100 FeedCreator 1.7.2 http://carverycuts.com/dubs/images/M_images/joomla_rss.png http://carverycuts.com/dubs Joomla! site syndication http://carverycuts.com/dubs/index.php?option=com_content&task=view&id=58 p.p1 p.p2 p.p3 p.p4 span.Apple-tab-span p.p1 p.p2 p.p3 p.p4 STEM MIXING Stem Mixing is a system by which the parts to a track are bounced down into subgroups i.e. bass, drums, vocals, keys. By splitting your mix into five or six groups or 'stems' we can make sure you get the correct balance in the mix. This form of mixing is a great way of giving us more control in the mastering stage. Our highly experienced engineers will put your tracks through a series of analogue and digital processes to get the levels in the mix you are after. If you are unsure of your mixing skills and feel that you could benefit from some expert ears simply click the buy it now button at the bottom of the page. (buy it now button) VOCAL MIXING Perfect for getting the best out of your vocal recordings. We can put your vocal through our high end compressors, limiters, spring and plate reverb units to get the vocal you were unable to get in you DAW. Call for info. Studio Services - Studio Services Mon, 02 Mar 2009 11:08:25 +0100 http://carverycuts.com/dubs/index.php?option=com_content&task=view&id=25&Itemid=151 p.p1 p.p2 Our scratch plates are made from the same material as all our other plates, the only real difference is in the weight of the plate and depth of the groove. Our scratch plates are 1.5mm thich and weigh only 120g. The groove is much deeper on these cuts so the maximum length per side is 10 minutes. Scratch plates can be single or double sided and can have an almost unlimited amount of tracks in them. If you want track markings in your scratch plates, please put a 3 second gap where you would like the marking or send us an email with the exact time. When producing your material for your scratch plate, please try and put the loudest beats and sounds at the beginning of the plate. For instance, a d&b track will sound better at the start of the plate than close to the label. Some of the recent DMC DJs we have cut plates for...(sorry if we have missed you off) DJ Rasp (UK DMC Battle Champion 2009) DJ Switch (World BattleChampion 2008) DJ Shiftee (World DMC Battle Champion 2009) Johnny 1 move (UK DMC Finalist 2008) Asian Hawk (UK DMC Mixing Champion 2006) DJ Cable (UK DMC Champion 2008) Dr. Weevil (UK DMC Battle Finalist 2009) Furious P (UK DMC Finalist 2009) DJ Sparechange (DMC US Finalist 2006) JFB (UK DMC Champion 2007) Loop Skywalker (DMC UK Team Champion 2008) DJ Niffty (S.A Supremacy and Team DMC Champion 2007) TGK (UK DMC Finalist 2009) DJ Special Guest (UK DMC Finalist 2009) The Disablists (UK DMC Team Champions 2004/05) In 2007 we cut 7 out of the 10 UK DMC Finalists plates including winner 'JFB'. Just to say...Thanks for pressing some excellent scratch records... I'm now UK DMC Champ 2007... sick! (JFB Scratch - UK DMC Champion 2007) Our scratch plates are extremely reliable and can withstand extreme abuse. They are perfect for accompaniment to live sets or for building a competition routine . These boys know their shit! Fast turnaround and great sound quality! (The Disablists - UK DMC Team Champions 2004/05) Cheers again for the cuts - I got to the DMC UK final in the end!! Sounded wicked over the massive system........definitely be getting more cut next year! (DJ Special Guest - 2009 DMC Finalist) Thanks For Coming Thru In The Clutch! They Felt & Sounded Great & Gave Me Exactly What I Was Looking For. (DJ Sparechange, Miami, FL) Vinyl Dubplates - Dubplates Thu, 06 Sep 2007 14:44:11 +0100 http://carverycuts.com/dubs/index.php?option=com_content&task=view&id=29&Itemid=140 p.p1 p.p2 How does it work? A viny cuttingl lathe cuts a groove into a blank record whilst simultaneously transferring the audio signal onto the groove. The super-sharp diamond stylus of the cutter head vibrates as it cuts the groove producing a series of complex ridges. These ridges are then read by the playback stylus, in a similar way as a stick running along a railing. What should I bear in mind? The strength of the signal is directly related to the oscillation in the groove. The stronger the signal, the greater the oscillation. To avoid skipping, the grooves must never touch, so tracks with a lot of bass, volume and stereo signals, which produce the most movement in the groove, have to be shorter due to increased distance between the grooves. Avoid bass in stereo. We can remove it in the mastering process but it will sound different to the original master. We can make very loud records up to +12db. However, there is a physical limit to how much bass and stereo signal can be put in. Try to avoid using psycho acoustic processors to an excessive degree. If cutting more than one track on a side, try to place the most demanding tracks at the beginning of the side of the vinyl record not at the end. As the conditions for recording and subsequent reading on vinyl records get worse with the decreasing diameter towards the middle of the record. Frequencies bellow 300 Hz have to be in phase. Check the master by using a correlation measurer (it must not be in the red field or in negative values) and a frequency spectrum analyzer (signal must not contain unreasonably large elements at the bottom and mainly the top end of the zone) If you do not have access to this equipment, please send your tracks in to us and we would be happy to check them for you. In 'n' Out Of Phase? When a recording is "in phase", the cutter stylus moves nicely from left to right. When it's "out of phase", the stylus moves up and down, causing it to jump out of the groove given half a chance. In the "good old days" of expensive studios, most good consoles had a 'phase correlation meter' on the output. Since phase is irrelevant to CD, this expensive extra is usually unavailable to today's engineers, leading to major headaches when trying to cut vinyl from digitally recorded or mixed masters. Especially critical is the bottom end - when this is out of phase, the recording can be near impossible to cut. Extremely "subby" dance mixes usually present the biggest problem but are OK if the bass kick are in phase. It's not such a problem for lo-fi garage recordings, unless the feedback gets REALLY trebly and piercing, which will be removed during cutting anyway. Well-recorded acoustic stuff is no problem at all. Most problems come from live recordings made from the desk, or from stereo samples where a plug-in DSP has removed a solo instrument or leaving the rhythm track. Using Stereo widening plug-ins is often disastrous, and may cause the inner tracks to sound dull. Mono samples panned near to the centre don't have the same problem. What happens if my bass is in stereo? If the bass is in stereo, it will make the needle cut very deeply into the record when the bass signal occurs, which in turn will make the playback needle jump out of the groove. If the bass is in stereo we have two options: We don't cut the track or we make the track mono below 300 Hz. On these occasions, we would contact you to discuss the problem. What mastering do you do? In preparation for cutting your tracks we will treat your tracks with necessary equalization, compression filtering changes to ensure your track is as loud and clear as possible. If there are elements, which are too loud or to quiet, we will adjust them accordingly. We will then do a short test cut to make any changes before cutting the master plate. If at this stage we are not happy with the results we will contact you to discuss the options. What can I do to make the track sound as good as possible? Try not to use too much overall compression. Compression reduces the dynamic range of the track, which is needed to give punch and clarity. When looking at the VU meter on your computer, make sure there is as much movement in the meter as possible. Leave us 2db headroom on the master so we have room to add frequencies and compression in the mastering stage. What about bass? Do you cut dub, dubstep drum bass? Yes, we cut very loud, super-heavy bass tracks. Normally, these will be cut at 45rpm on either 10” or 12” plates. What is the difference between The Carvery's records and acetate dubplates? Acetate dubplates are made from fragile material that has a limited life span. Acetates are too soft and heavy to scratch with and manipulate. Can I scratch with these records? Yes, these records can be treated in exactly the same way as normal records. What are your records made of? Our records are made from a PVC compound with very similar properties to pressed vinyl. How long will they last? Like all records depends on how well you treat them. We have records that we cut three years ago that are still going strong. You are far more likely to be sick of the record than the record dying on you. What do you use to cut the records? We use a specially engineered custom made lathe with a diamond stylus. Vinyl Dubplates - Dubplates Thu, 06 Sep 2007 16:41:42 +0100 http://carverycuts.com/dubs/index.php?option=com_content&task=view&id=63&Itemid=136 p.p1 p.p2 p.p3 p.p4 span.s1 span.s2 span.s3 span.Apple-tab-span Probably the cheapest and fastest CD dubplication service on the market. Perfect for promo give-away's. No fuss, no minimum run, four simple options check link for more info. CD PACKAGES ● OPTION 1 - Black text on silver CDR in PVC wallet - 80p per unit ● OPTION 2 - Black text on silver CDR with B W paper insert, in PVC wallet - 90p per unit ● OPTION 3 - Full colour CDR with B W paper insert, in PVC wallet - £1.10 per unit ● OPTION 4 - Full colour CDR with colour folded paper insert, in PVC wallet - £1.30 per unit To upgrade to slimline jewel cases, please add 10p per unit. Delivery within the UK for an average run of 200 CDs - £10 Normal turnaround for our CDs is 3/4 days. the Carvery's 'Rush Service' is also available on these items, if you require the CDs on a 1/2 day turnaround please add 50% to the total. For more information on these services, please call or email us at info@carverycuts.com Manufacturing - Manufacturing Wed, 11 Mar 2009 14:23:59 +0100 http://carverycuts.com/dubs/index.php?option=com_content&task=view&id=64&Itemid=137 p.p1 p.p2 p.p3 p.p4 p.p5 p.p6 p.p7 p.p8 span.s1 span.s2 span.s3 span.s4 span.s5 span.Apple-tab-span Most vinyl pressing plants press up minimum of 500 records. We can now off a minimum run of 100 white labels in 7, 10 12 inch formats! Perfect for promoting a release or simply doing a short run when you don't want to commit to a larger one. We now offer the best value in the five most commonly ordered options at the plant. ● All options include mastering, metal work, TPs and manufacture. Please note: this is the same plant we use for our label's pressings so we highly recommend them as London's best value press. ● VINYL PACKAGES White Labels 7" 10"/12" 100 £485 £545 300 £575 £635 500 £685 £795 Full colour Labels 7" 10"/12" 300 £605 £685 500 £695 £860 If you don't see the option you want here, or require sleeve printing or sticker application please contact us on 020 85339532 us for a quote. All the above options come with black or white card sleeves ● MASTERING PROCESSING COSTS 7" Mastered lacquers £140 Processing from lacquer £140 Test press (x10) £15 10"/12" Mastered lacquers £195 Processing from lacquer £150 Test press (x10) £25 Manufacturing - Manufacturing Wed, 11 Mar 2009 14:26:21 +0100