Lathe cuts are manually embossed with a hot sapphire stylus, using a record cutting lathe. Our hot stylus improves audio, a tungsten needle for embossing polycarbonate records will sound dull.
The grooves on a lathe cut record is embossed, not cut, they are not as deep. This does not affect audio quality, a turntable with a damaged or worn out stylus will tend to skate, and will not track properly.
Occasionally your stylus will land between the grooves, resulting in a strange, distorted playback. In this case, simply lift the tone arm, and drop it again in a slightly different position, or just gently nudge the stylus. You will hear the needle pop into the groove, and the audio will clear up.
The audio on a lathe cut record is in MONO, it is about 4 to 6db quieter, and you will have to turn up the volume. There is more noise than a normal LP, pops and crackles will be noticeable, even when your record is brand new. Unlike dub plates, lacquers, and many lathe cuts, our lathe cut records will not wear out any faster then a pressed vinyl record. We are currently the only producers of the hot embossing styli. Our styli improves HIGH FREQUENCY response.
Best way to reach me Text or Voice
Email is reserved for audio delivery you will not get a reply email@example.com
7 inch 45 Large And Small Hole Lathe Cut Records For Your jukebox
Call For Pricing
Large hole 45 and small hole records embossed on clear polycarbonate plastic.
Copyright 2018 © Lathe-cut-records.com All rights reserved.
Our custom made embossing sapphire styli made here exclusively for our use
SCULLY 601 CUTTING LATHE
WESTREX CUTTING HEAD
Equipment we are using for embossing lathe cuts
Lathe Cut Records ::: Polycarbonate Vinyl Mastering
I Started cutting acetates back in 1972 With Walter Gibbons. He and I started Melting Pot Sound, an acetate dub plate, disc recording service for DJ's. Long after many years, I decided to give up the business in 1986 and sold my lathe on consignment to Robert S.Cosulich of TRANSCO PRODUCTS CORP in Linden, NJ. The cutting lathe and the HAECO SC-1 system wound up in The Wakefield section of The Bronx, NY to an Errol Jones, who used to own a Reggae recording studio,
The last thing that I heard in 2015 by a local pirate radio station near by, it was sold to someone in Japan. I purchased the Neumann record cutting lathe in 1972 from A&R recording studios in New York, where I met Al Brown, and he helped me load it into the truck, which I later upgraded to stereo in 1975.
I called my studio, "SPECTRUM SOUND", 1974-1977, At the time I was working at Variety Recording Studios along with Fred Vargas and Joe Cyr.
In 1980 Flowers Mastering, was my company, the only name actually registered as a DBA, at 750 8th Ave. New York, NY10036. Located in the same building as the RGH Record pressing plant owned by George S. Srolovits, Howie at Master Craft Plating at 609 West 51st Street, New York City, back then in1980, had told me over the phone, "we don't like newcomers in the mastering business" and accused me of cutting bootleg masters.
In the same period I worked with Herb Abramson at A1-Sound Studios where I had to install and set up his Scully 501 lathe. In 1984 I entered in a short contract agreement with Allied Recording Products in Long Island City, Queens,NY, and relocated my record cutting lathe at the Allied manufacturing plant to do quality control cutting of the acetate blanks