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PO: Dads - "Shit Twins" Lathe Cut 7"


Zick
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I haven't gotten mine yet, but with the World Is lathe they did I really had to crank the weight of my tone arm up and it actually sounded pretty good. It sounded similar to what you're describing using the regular weight.

 

I added a bit more, but honestly it's not worth putting that much stress onto my needle; this thing is never going to sound good, hah.

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I know it's a lathe cut and is more so suited to own just to say you have it (and not actually listen to it), but this thing sounds like complete garbage. Picture listening to a 64kbps mp3 across a radio signal that is just barely coming in. Unlistenable.

A heads up to who pressed this (Broken World right?): go with www.lathe-cuts.com 

The PIAPTK guy does lathe cuts that actually sound pretty good, minus a little surface noise.

Looks neat though for sure.

 

Thanks for the plug! It's actually www.LatheCuts.com (no hyphen).  Lathe cuts are REALLY hard to make.  Consistency is almost impossible (at least with my set up, I'm not sure who cut this release you guys are talking about), but all cutters should have quality control of some kind. 

To be honest, most of the orders I get are not high fidelity to begin with... blown out grindcore, fourtrack tape noise drone, dude and a guitar recorded on a dictaphone, etc. And I know that some of the stuff I've seen on this board is of questionable fidelity when pressed using the traditional process, anyway. Personally, I would much rather listen to Daniel Johnston or Ariel Pink than Muse or U2 or something recorded in a badass million dollar studio. Sometimes the format and the lack of fidelity enhance the music rather than detracting (though certainly not always).  Lathe cuts should be playable and sound good enough to listen to and enjoy (like a dusty 45), but yes, a substantial part of their appeal is the fact that the bands can make a small number (that is easy to sell) and make cool packaging for it (which they may or may not be able to do for 500 copies).

 

All that being said, as of right now, I've got my lathe cuts pretty well dialed in, and sounding better than they ever have before.  But there are a billion variables.  If anyone knows who cut the record this thread is about, please let me know.

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Thanks for the plug! It's actually www.LatheCuts.com (no hyphen).  Lathe cuts are REALLY hard to make.  Consistency is almost impossible (at least with my set up, I'm not sure who cut this release you guys are talking about), but all cutters should have quality control of some kind. 

To be honest, most of the orders I get are not high fidelity to begin with... blown out grindcore, fourtrack tape noise drone, dude and a guitar recorded on a dictaphone, etc. And I know that some of the stuff I've seen on this board is of questionable fidelity when pressed using the traditional process, anyway. Personally, I would much rather listen to Daniel Johnston or Ariel Pink than Muse or U2 or something recorded in a badass million dollar studio. Sometimes the format and the lack of fidelity enhance the music rather than detracting (though certainly not always).  Lathe cuts should be playable and sound good enough to listen to and enjoy (like a dusty 45), but yes, a substantial part of their appeal is the fact that the bands can make a small number (that is easy to sell) and make cool packaging for it (which they may or may not be able to do for 500 copies).

 

All that being said, as of right now, I've got my lathe cuts pretty well dialed in, and sounding better than they ever have before.  But there are a billion variables.  If anyone knows who cut the record this thread is about, please let me know.

 

There's a slip of paper inside the sleeve that says it was made by Tyler Bisson at Complete Mastering, Bethel, CT

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I know Tyler, I'll send him to this site. I have been curious about how his cutting has been going.  It's not easy to make em sound good, BELIEVE me. The process is extremely experimental and subject to the whims of the universe. He sent me a sample a while back, and it sounded good, so I know he is capable of good sounding cuts.  This might have been an early one.

 

Also, make sure that when you play it you nudge the needle into the groove.  Occasionally, because of the nature of the cut, the needle won't quite drop into the groove correctly.  Also wipe it down with a soft cloth (lintfree) t-shirt or something to get the static off it.

 

Lathe cuts aren't for everyone. They allow people who can't sell 300+ records to actually make a record. It also allows them to do cooler packaging than they could for a traditional record. It's a lot different to go all out on handmade packaging for 30 copies than for 300. If you don't want to pay $10 for the record, pay $2 for the digital. The lathe cut doesn't take anything away from those who don't want it, they just add another physical format that would not exist.  Believe me, nobody would have lathe cuts made in lieu of pressed records if they could afford it.

 

And yes, they will be expensive. Because a 500 run 7" costs the label about $1.50.  Lathe cuts cost the label $4-$5+ depending on how long it is, etc. And they have to give freebies to the band.

 

They are, in some ways, novelties, or souvenirs. Some people enjoy owning that stuff, some don't. I personally would rather hold on to records that had a personal touch than ones that were mass produced in professional sleeves. I had to sell the majority of my record collection when I moved into a motorhome and didn't want to store 4000 LPs while I traveled for 6 years.  I want to connect with music in a physical manner as well as an aural manner. And there is more of a connection (for me) when I know that the band personally made the covers, as opposed to the pressing plant sending it to the distro who sends it to the stores.  I kept every single record that had handmade artwork.

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^Solid post

 

I bought it because the song means a lot to me. I knew it wasn't going to sound good so I wasn't too bummed when I played it the first time. If I wanted to hear a good quality version of it I can just spin American Radass, or play a digital copy. Dads is one of my favorite bands right now, so I'll buy anything vinyl related of theirs (with the exception of variants, I don't do that shit). I guess you can call that "The Hobby" if you want.

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hey guys,

I made that record.
 

The label wanted to make something unique and limited, and this is a way to do it.

They ordered 80 records from me at one time.

That's a lot considering the song is 7 minutes long.
There are other factors that held up the production of these records, so I had to rush to get that many records together in time. 


Let's talk about what really bothers you about the audio quality of the lathe cut.

There's surface noise yeah, but that's what you get cutting each copy the way that I do.

The audio fidelity of my system is no worse than most cassettes you listen to.
The mixing of the track itself really has a lot to do with how it sounds on the lathe cut. 
 

there's not much I can do as far as reparations, 

but let's talk about lathe cuts sometime if you'd like, I love informing people about the process.
[email protected]

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