It’s an exciting moment to receive a new set of test pressings (TP’s) and hear your recording on vinyl for the first time. A question that is often asked is “what should I listen out for and what should I ignore?”. Knowing this is essential to be able to accurately review and judge your test pressings without complications.

So, let’s share some simple steps that you should take when receiving a new set of test pressings. Understanding what to listen out for is crucial to ensure your project gets the best results in the shortest amount of time.

Before we get into the three recommended steps, we think it’s worth quickly going over what a test pressing is and what it isn’t. In most cases, a test pressing is the first opportunity to hear your digitally recorded project in an analog format. It’s also a safety net to ensure that there’s been no human error during the mastering stage (and by mastering in this example we’re talking about DMM or lacquer cutting). A test pressing is not an exact replica of your final records. Sonically your test pressings and final records should sound the same, however due to the nature of creating test pressings you may notice certain audio characteristics which don’t carry over to the production run. For example because test pressings are made in such small quantities, they are susceptible to a phenomena called “cold pull”, which is where the press is not at its 100% optimum temperature. This can lead to more surface noise as well as clicks and pops, but as long as they don’t occur in the same spot on all of your records there’s nothing to worry about.

Step 1 – The Basics

The first step is always to cover the basics and ensure that all the tracks are in the correct order, the songs for Side A are not on Side B and that any additional etchings you’ve requested are present and accurate on the vinyl. Also if you’ve requested any special details like a locked groove for example, now’s the time to check that they function in the way you intended.

It’s important that you listen to a single copy in its entirety and then cross-reference any issues across all the other copies. This will allow you to determine whether an issue is present on all copies or localised to one test pressing. If the issue appears on just one test pressing then you can be confident that it won’t recur during the production run, however if it occurs in the same place on all five then notify your account manager.

Step 2 – Listen Up

First listen to each side of the test pressing in full. All vinyl records contain surface noise (crackles, pops and ticks), it’s one of the quirks that we love about the format. However if you feel that you’re hearing something out of the ordinary (for example loud pops, excessive static or a skip) and it occurs in the same place on multiple copies then notify your account manager.

It’s normal to notice some reduction in sound quality as the turntable tonearm moves towards the centre of the record, especially on sides that are 20 minutes and longer. This may be caused by a phenomena called inner groove distortion, which is when the audio wavelengths become gradually shorter and more compressed as the diameter of the vinyl playback area decreases. Alternatively the cutting engineer may have had to contain some high and low frequencies in the final tracks, to ensure longer audio fits safely on a side. However if you’re hearing distortion in other areas of the record then first check the same copy on another turntable if possible and if the issue persists, notify your account manager.

Step 3 – Troubleshooting

So you’ve completed all those steps and you still think there’s an issue that needs further attention. Your first question would be whether your turntable is causing the issue. Take the record to another turntable, most people only have one so maybe visit a record store or a friend for a second reference. Play the same passage for confirmation. If all five copies experience the issue in the exact same place then notify your account manager. If not, it is most likely an issue with your turntable.

If the issue is skipping related, look up the recommended tracking force settings for your tonearm. Adjust the weight and balance of the tonearm appropriately and try again. If the issue appears in an identical fashion across all five copies, and persists after following the aforementioned steps, please let your account manager know right away.

1) General

• Optimal is if we get printable, unseparated PDFs (PDF 1.3) from you with details for the product, colors and pages

(front side / back side); for covers in single pages also add details of the opening (right or top opener) and title:

- For final formats, depending on the product, additional 3 - 8 mm trim all around - (3 mm for paper products, CD-sleeves and slip-ons / banderols,

- 5 mm for single sleeves, case bags, discobags and gatefolders,

- 8 mm for case sleeves with 10“ and 12“ format and 3 mm spine)

- Image resolution with 300 dpi

- PDF 1: 1, exported or distilled without scaling

- Color room is CMYK and / or spot colors, without color profiles or color management

- Partial varnish or hot foil or embossing on exact position in 100% with one color in a separate page or file - Without visible cutting lines, folding lines and punching lines, instead - if necessary - cutting and folding marks outside the bleed area – this is also binding for color bars.

- Single placed and centered per page for multipart products, f. e. labels or booklets (single pages or imposed double pages) or similar.

- Case sleeves should be arranged on the right stand (front page right)

• If you do not have PDFs, you can also send us TIFF or EPS files, important is that all images and fonts are embedded, or the fonts are converted to paths, and everything is reduced to one layer. Kindly note, however, that fonts which are used in picture editing applications like Adobe Photoshop are pixelated and not sharp.

• Open files (InDesign, Illustrator, etc.) still needs to be edited, placed, or proceed for printing by us. The processing will have extra charge depending on the effort

• Word, Excel, Publisher or Power Point are not suitable for creating graphic files

• On our website you can download many specifications, on your personal request we will send you the templates you are looking for in the scale of 1:1

2) Fonts

• Please note that all used fonts have to be embedded or converted to paths. Fonts which are delivered by you like Double Byte Fonts, OTF-fonts or Postscript fonts are not employable on every operating system under MAC OSX.

3) Line and font sizes

• The thicknesses of lines have to be not less than 0.15 mm in the positive printing and 0.25 mm in the negative printing

• Line thickness for hot foil and embossing have to be at 0.35 mm

• Fonts should have a minimum size of 5pt for positive printing and at least 7pt for negative printing. Please note to use for very fine types our minimum thicknesses.

4) Colors

• Black text and lines should be adjusted to overprint with CMYK backgrounds, for metallic and daylight colors there should be no overprint command

• In combination, the summary of all colors should not be higher then 280% for the ink coverage

• For deep black effects of 100% black you should underlayer the black with 50% cyan (100% black and 50% cyan)

• White fonts on deep black in 1c should consist only of 2 colors, black (+ 50% cyan) not more

• Please note that we have a dot gain of 15% from the file to the print process. Adjust the contrast high enough for dark 1 color files (at least 15%, for labels or inside-out print up to 20%), this helps to distinguish the individual elements on the print sheet even after printing.

5) Submitting

When you are finished formatting your artwork, send it via WeTransfer to nicolas@fullcourtvinyl.com.

Make sure you send the artwork without the template lines, otherwise they will be printed along with the artwork.

One of the hallmarks of Full Court Vinyl is our quick turnaround times. We understand the importance of getting your music into the hands of your fans promptly. With short lead times, we ensure that your vinyl records are ready when you need them, without compromising on quality. Our current lead-times are 10 - 12 weeks.

We can handle the entire process, from receiving orders to packing and shipping to you and your customers. With our efficient logistics and attention to detail, you can trust us to ensure timely and accurate worldwide delivery, leaving you free to focus on your music and business.

What sets us apart is our dedication to sustainability. In a world that demands eco-conscious solutions, we've stepped up. In addition to virgin black granulate, we are the only company in Belgium to have developed black granulate that comes 100% from post consumer vinyl, ‘Rebound’, reducing our environmental footprint while maintaining the highest sound quality. We're determined to be part of the solution, not the problem, and we invite you to join us in making a positive impact on the world.

Yes, CDs are a nice addition to vinyl and given the short delivery time (+/- 14 working days) a perfect alternative while waiting for your vinyl.

Wallets - jewelcases - digipacks - digisleeves with or without booklet - it's all possible.

Ask about it in your quote request.