About Richard Simpson
Richard started cutting records in the late 1960s — The Monkees, The Guess Who, Lou Reed, David Bowie, the whole RCA Records catalog, basically. And by cutting, we mean using a lathe to cut master lacquers at an RCA pressing plant.
In his early years, Richard worked at RCA’s New York plant, where there were six cutting rooms. In 1972, he moved to RCA Hollywood to run a new mastering room. That’s when the involvement with the artist and the producer became more apparent in the mastering of records, and closer contact between the cutting engineer and the artist developed.
Mastering became a more important step in the recording process — no longer a routine tape-to-disc transfer, but an added effort to enhance the sound using whatever means possible to make the best-sounding record. That commitment remains true today.
Commitment to Quality
As the quality of the lacquer mastering has a direct effect on the final vinyl sound, Erika Records does whatever we can to ensure the best possible result. With over four decades of experience, Richard knows what it takes to get the job done right.
We use Japanese-made MDC lacquers and sapphire cutting styli. This is our preferred method because lacquer cuts deliver a smoother groove compared to copper plates, resulting in a warmer low end and more natural highs.
Services Offered
Erika Records’ lacquer mastering services include:
- Master lacquers
- Reference discs
- Reference acetates
- Laser etching
- Personal etching
- Roulette mastering
- Laser etch mastering
- Reverse groove
- Locked groove
- Inside-out groove
We pride ourselves on the quality of the lacquer masters we produce.
Equipment and Technology
Erika Records has updated its mastering lab with state-of-the-art equipment, including:
- SAL74B/MS70 Neumann cutting system
- Custom console equalizer
- MacPro (Intel) with Cinema Display
- Aurora Lynx 24/192 kHz converters
- Peak Pro XL audio software
Preferred source: 24-bit (hi-res audio) files.
