Meet the mastering engineer who is often among the very first to hear a highly anticipated new album.
Honestly, it’s really easy to cut a record. It’s really hard to cut a good record. Working the equipment is not that hard, but there are a thousand things that can go wrong, and it definitely takes a lot of experience. I learned how to cut from [senior mastering engineer] George Marino, he started in the late ’60s and that’s all his job was, just cutting records every single day. There was no digital anything — vinyl wasformat.
With Adele, you had to cut over 20 masters in order to meet the estimated 500,000 vinyl copies ordered for release day. How did you prepare? When we built our studios here in Nashville back in 2018, we ran lines between the rooms of our two lathes. We were like, “If we ever got in a bind and had to cut multiple parts of something, we could cut two sets simultaneously.” At that point, we didn’t really have that call to do that. But [with Adele], when they needed to get one set into every plant’s hands as soon as possible, we were using both lathes. It was cool to see the idea we had three years ago be successful.
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