{"id":16970,"date":"2021-06-21T17:28:56","date_gmt":"2021-06-21T21:28:56","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=16970"},"modified":"2025-10-10T11:56:41","modified_gmt":"2025-10-10T15:56:41","slug":"get-album-pressed-vinyl","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/get-album-pressed-vinyl\/","title":{"rendered":"How to get an album pressed to vinyl"},"content":{"rendered":"\n

Illustration:<\/strong> Leo Peng<\/strong><\/a><\/p>\n\n\n\n

Vinyl has made a comeback, and it\u2019s for a good reason.<\/h2>\n\n\n\n

Among many of the older forms of entertainment and consumption (think Polaroid-style cameras, flip phones, and VHS tapes), vinyl records have made an exceptional comeback in recent years. Putting a High Fidelity<\/em> remake and Urban Outfitters selling an accessible rig aside, vinyl consumption has surpassed irony or something hipsters do. But even with all the demand for it, pressing a release on vinyl can be an intimidating feat, especially with COVID-19 hitting pressing plants and people\u2019s pockets hard.<\/p>\n\n\n\n

As an artist, you\u2019ve perhaps went through your parents\u2019 old collection, crate-dug on your own, or flipped and scratched them on a turntable. Getting your work put onto vinyl itself is entirely different. As a musician, vocalist, or beat maker, having your songs on vinyl could up your game in quite a few ways. Below, we demystify how pressing to vinyl can benefit you as an artist, how to find a manufacturer, and what you\u2019ll need to provide them with in order to make it happen.<\/p>\n\n\n\n

How does vinyl hold up to other formats?<\/h2>\n\n\n\n

If you\u2019ve had little to no interaction with a vinyl record before, you may be wondering what the big to-do is. Whether or not vinyl is \u201cbetter\u201d than its digital successor, MP3s, depends on who you talk to, but there are certainly benefits to it. <\/p>\n\n\n\n

In terms of longevity alone, vinyl takes the cake. Sure, a vinyl record can get scratched or broken, and a record player may not always be immediately available. But on the other hand, there\u2019s zero chance of losing anything in a computer crash or having to convert different digital files depending on what program you\u2019re using. Vinyl is the only format that\u2019s fully analog and doesn\u2019t require any digital conversion or reading to be played back (that said, with the way vinyl is made now, some form of digital files may be involved, especially if you\u2019re working with a mastering studio or pressing plant that isn’t local to you).<\/p>\n\n\n\n

The main benefit of vinyl comes from its audio characteristics, particularly for the audiophiles among us. If a record was engineered in the fairly traditional way of recording sound onto reels of magnetic tape before an engineer masters them to lacquer, then it\u2019s in its closest form to what the artist intended it to be while playing it, according to Adam Gonsalves, Senior Mastering Engineer at Telegraph Mastering. Gonsalves described the sound in an interview with The Oregonian<\/em><\/a> as being \u201cvery mid-range-y and very warm,\u201d as that’s how people typically tend to organically hear music. This is in strong contrast to the sometimes overwrought, loudness-war-driven sound a digital master can lend itself to.<\/p>\n\n\n\n

Still, most modern vinyl is produced from some type of digital master\u2014and there isn\u2019t anything wrong with that. It\u2019s really a matter of preference, access, and album length. Longer albums will have skinnier grooves in order to fit more per side. Ideally, you\u2019ll also want to keep in mind the sonic elements you include in your songs, since higher pitches can lead to the crackling sounds sometimes heard during vinyl playback.<\/p>\n\n\n\n

Why you should care about vinyl as an artist<\/h2>\n\n\n\n

Other than its auditory highs and lows, there\u2019s a certain novelty to owning vinyl for a consumer that makes it an advantageous investment for an artist. Looking at vinyl sales over the last few years, record revenue has skyrocketed, both through online platforms like Discogs, eBay, and Amazon, as well as in actual record stores.<\/p>\n\n\n\n

The Recording Industry Association of America (RIAA) reported<\/a> that by the end of 2020, the total revenues of vinyl record sales had surpassed that of CDs for the first time since 1986. Billboard reported<\/a> that despite COVID-19 affecting retail sales across many sectors, vinyl saw a 28.7% increase in value, having its highest sales week in history in the week leading up to Christmas last year, selling over 1.8 million records. <\/p>\n\n\n\n

Physical and online stores aside, a chunk of the vinyl market comes from vinyl subscription services. Essentially, these work like your typical subscription box\u2014think what IPSY is for makeup or what HelloFresh is for food\u2014except it’s vinyl that arrives at a member\u2019s door every month. While each one is fairly different, many of them act as music discovery services<\/a> that help to put on new, indie, or unsigned artists. Depending on who you reach out to, getting your album on their radar could be as simple as sending an email<\/a> or being on an indie label, but we\u2019ll go into more detail about that later.<\/p>\n\n\n\n

What to expect<\/h2>\n\n\n\n

Keeping all this information in mind, there are still a few things you\u2019ll need to get together and consider before moving forward. No one ever said it would be easy, though it is<\/em> easier than some may expect. It\u2019s mainly a matter of knowing when the time is right for you as an artist to press to vinyl, so think about these factors before really making a decision.<\/p>\n\n\n\n

The cost<\/strong><\/p>\n\n\n\n

Perhaps the biggest hangup when it comes to offering a vinyl in your discographical repertoire is the price it takes to cut it. If we don\u2019t factor in the price of recording (as it\u2019s possible you have your own studio or affordable access to one), it\u2019ll typically depend on how you go about the process. <\/p>\n\n\n\n

If you\u2019re getting your recordings mixed and mastered at a professional mastering house, someone with years of training will cost more than a plant that can master in-house. Depending on the size you\u2019re getting (i.e. 7\u201d or 12\u201d), how long your record is, and the quantity of your run, you\u2019re looking at around $1,000 minimum to start. <\/p>\n\n\n\n

That doesn\u2019t always take into account other factors like if you\u2019re sticking to a flat black variant or going with a special colored variant or etching, labels, and sleeves. Some places offer bundle deals or have inclusive price points. Take Musicol Vinyl Pressing & Recording Studios,<\/a> for instance. Their pressing prices include lacquer cutting and mastering, stampers, test pressings, labels, white paper sleeves, and the records themselves, with a 100 count run of 12\u201d starting at $1190.<\/p>\n\n\n\n

Other places may not offer bundle deals, wherein the individual pricing can definitely stack up. Take Jack White\u2019s Third Man Pressing<\/a>. Their minimum run starts at $500, with a basic black 130-gram pressing being $1.75 each. A lacquer master of the same size would run you $230 per side, while two to three-step stampers are $137 and $202 per side, respectively. <\/p>\n\n\n\n

Other deals are possible to work out, as well. Remember those subscription services mentioned before? VNYL<\/a> is one of those (full disclosure: I work here as my full-time job), and they provide pressing services for small artists and labels. While they don\u2019t do the mastering in-house, the music discovery subscription service does front the fees for the actual vinyl pressing with no money down by the artist or label. In exchange, they\u2019re able to use your record in their curating inventory and have the rights to repress runs of the record for a certain amount of time afterward. You\u2019ll get promotional copies to use as you see fit, plus free marketing for your record.<\/p>\n\n\n\n

The production time<\/strong><\/p>\n\n\n\n

In a pre-COVID world, pressing plants would normally take around three to four months to have a record in production, but times have since extended to abide by restrictions. With less staff working at plants, production times have gone up to the five or six-month range, if not longer depending on the particular plant used. <\/p>\n\n\n\n

When considering a plant to go with, think about their typical capacity first. Plants in the states, like A to Z Media, Third Man, Kindercore, and Cascade Record Pressing (to name a few) typically churn out hundreds to thousands of records per day. Where you fall in their queue versus, say, that of the smaller and only POC-run pressing plant Soft Wax Pressing, may be significantly different. The latter plant requires potential clients to fill out an application first before your project is approved. While waiting for approval can seem like it takes forever, there may also be stacks of releases before yours with major plants.<\/p>\n\n\n\n

Because of how long vinyl takes to actually make, it\u2019s important to think about doing a vinyl release separately from your actual album release. Waiting to announce a new album for when its vinyl counterpart is ready could mean putting yourself months behind your actual release schedule. Separate release dates could allow for more marketing and promotional opportunities as well.<\/p>\n\n\n\n

The mixing and mastering<\/strong><\/p>\n\n\n\n

This one probably seems obvious, but as lightly detailed above, the differences in mixing<\/a> and the audio quality for MP3s<\/a> and vinyl are vast. You\u2019ll want to make sure you don\u2019t over-compress your mix or make it too loud, as it won\u2019t translate onto a record in the way you hear it in the moment.<\/p>\n\n\n\n

Try to avoid using too much stereo bass or highly sibilant vocals. The engineer you choose to mix your recording is also integral, as seasoned ones will be privy to de-essing software and other techniques that reduce or cut sibilant frequencies. They\u2019ll make sure the mastering engineer<\/a> has a properly bounced mix to work with, be it mono or stereo. The mixing and mastering engineers are a key team when it comes to getting the most out of what vinyl audio has to offer, so who you choose to work with is key. <\/p>\n\n\n\n

The tracking and sequencing<\/strong><\/p>\n\n\n\n

Unlike a playlist or even a CD, you can\u2019t skip around on a vinyl record. The different grooves don\u2019t mark the start and stop times of songs, and you run the risk of damaging the needle the more you move it around out of sequence. That\u2019s why thinking about the flow of the record is so important, as you\u2019ll want the tracklisting of songs to carry the sonic narrative in a way that can hold someone\u2019s attention from start to finish. <\/p>\n\n\n\n

If you know for sure that you\u2019re pressing to vinyl, try to consider the vinyl tracklisting first and rearrange the order of digital and other format releases around that. Be sure to leave about 30 seconds of quiet runtime in between the end of side A and the start of side B. That\u2019ll allow for a smoother-sounding flip without tracks starting or stopping too soon.<\/p>\n\n\n\n

Don\u2019t forget about the artwork<\/strong><\/p>\n\n\n\n

Just because something looks good on your phone or on your computer, it doesn\u2019t mean it’ll look good when blown up to the size of an LP album cover. There\u2019s often blurriness and distortion when blowing the art up, so it\u2019s recommended to have your images at 300 dpi (dots per inch) or more to ensure clarity for the front and back covers. <\/p>\n\n\n\n

Also consider what you\u2019ll want to put on your center label (make sure you include the UPC), if you\u2019re including any insert art, or, if you\u2019re feeling particularly fancy, if it\u2019s going to be a gatefold or not.<\/p>\n\n\n\n

Final thoughts<\/h2>\n\n\n\n

Even though it\u2019s an extensive process, vinyl has been a lasting commodity throughout the decades for a reason. While it’s an investment, it ensures the likelihood of your music lasting throughout history as an artifact of your creation\u2014that\u2019s something computer files aren\u2019t guaranteed to do. Whether you\u2019re unsigned and looking to up your game, or a part of a small indie label that can back you, having your albums on vinyl is surely worth it in the immediate and in the long run.<\/p>\n\n\n\n

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Explore royalty-free sounds from leading artists, producers, and sound designers:<\/p>\n\n\n\n

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We demystify how pressing to vinyl can benefit you as an artist, how to find a manufacturer, and what you\u2019ll need to provide them with in order to make it happen.<\/p>\n","protected":false},"author":108,"featured_media":16971,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1860,1700,1696],"tags":[],"acf":[],"yoast_head":"\nHow to get an album pressed to vinyl - Blog | Splice<\/title>\n<meta name=\"description\" content=\"We demystify how pressing to vinyl can benefit you as an artist, how to find a manufacturer, and what you\u2019ll need to provide in order to make it happen.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/splice.com\/blog\/get-album-pressed-vinyl\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How to get an album pressed to vinyl - 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