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Though his trade is the epitome of behind-the-scenes work in the music industry, McMaster’s profile has risen within the company of late, thanks to the renewed consumer interest in vinyl and artists’ fascination with the process. and European countries like France and Germany are struggling to keep up with demand. He represents the last stage of record making, before his cut goes to a factory to be copied and packaged for sale. How he cuts the grooves changes how much bass comes out of a booming reggae album or how much volume and warmth emits from a Herbie Hancock jazz classic or an Edgar Winter track. They’re closer to creative artists than technicians. Ron, and the people who do what they do, are creative artists.
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McMaster’s work, while technical and unglamorous, is essential to the production of vinyl records and can dramatically change how an album sounds when people play it at home on their living room turntables. After the Liberty Records facility shut down, he moved to the Capitol building and cut records by everyone from Frank Sinatra, Horace Silver and Chet Baker to current acts like the Red Hot Chili Peppers and David Guetta. McMaster, who grew up in Sacramento, started cutting lacquers as an apprentice mastering engineer in 1980 at Liberty Records in Los Angeles, known as the home of country music star Kenny Rogers. A corner of his office is covered in a pile of records he’s finished - “Pet Sounds” by the Beach Boys, “American Pie” by Don McLean and “The Phosphorescent Blues” by the Punch Brothers. He’s had to start working on Christmas albums in May just to get the masters to the plants on time. The vinyl revival has kept people like McMaster working around the clock. Yet the surge in interest has provided new business to mastering engineers, not only for Capitol but for unsung heroes like Los Angeles-based Bernie Grundman and London-based company Metropolis Mastering. Many music industry executives anticipate vinyl sales will eventually reach a saturation point and level off, unless even more retailers pour in. “It sounds so brilliant when it’s completed,” said Capitol Music Group Chairman and Chief Executive Steve Barnett. And many say vinyl exudes a warmer timbre and more interesting textures than digital files. It’s the type of medium that invites people to listen to music together with friends. In a world of cloud-based streaming where music is rented, not owned, many music fans have gravitated toward vinyl as something that can be physically collected and held in one’s hands. “That’s a healthy increase when other segments of the business, particularly downloads and CDs, are in decline,” said Vince Szydlowski, Capitol Music Group’s senior vice president of label sales. Vinyl sales are up 11% in the first half of 2016, according to Nielsen. Vinyl remains a small fraction of the overall music industry - about 6% of total sales - but the increase has given the music business a silver lining to point to.