> The vinyl master has more "attention" because the vinyl is more limited. This isn't really true from my perspective. There are a lot of factors as to why vin

> The vinyl master has more "attention" because the vinyl is more limited. This isn't really true from my perspective. There are a lot of factors as to why vinyl mastering gets more attention. It's harder to do right, so there's that. Artists will often pay far more attention to the vinyl master, so it's a crucial A&R issue. But there's an issue on digital master, we can easily (more or less) change the material on DSPs. It's not fun but it's possible. On vinyl, mistakes made on the mastering side may not even reveal themselves until past the test pressing stage and can be very costly. > its almost always based off the digital master that is than modified to not fuck up on vinyl medium This might be true at some levels of skillsets, I guess. But in my circles for at least the last ten years, the vinyl master is sourced from the original mix, not a digital master. In fact, on larger projects more independent labels and artists are hiring vinyl-specific engineers who can oversee what is a very physical process from mastering to lacquer cutting in one sitting. Having sat in an a number of sessions, there's a lot of attention to the ways in which the master is effecting the physical nature of the cut. This is actually how it used to be when vinyl was the imminent format, for reasons I've already stated (cost). In fact some vinyl plants had apartments for record label people to stay on site and oversee the vinyl mastering process.