How Pressing Vinyl Records Works and What It Means for Mastering
This page is designed to share my recommendations on various aspects, such as maximum side lengths, where to have your vinyl cut and pressed, and other important considerations. My insights come from experiencing records that sound fantastic versus those that fall short. I’ll explain why these differences happen and offer practical suggestions.
What Vinyl Pressing Is
Unlike CDs, which either work or don't, the sound quality of your vinyl record can vary greatly depending on who handles it. After mixing and digital mastering are done, and a vinyl pre-master is created, the process involves three key steps:
Cutting the digital audio onto lacquers (or DMM, which stands for Direct-To-Metal Mastering).
Creating metal plates, or stampers, used to press the vinyl.
Pressing the vinyl records, which are then packaged and shipped.
Many pressing plants handle steps 1 and 2 without you realizing it. Some have in-house cutting engineers and metal plating capabilities, while others outsource these steps, sometimes requiring shipping. This can introduce risks and complicate communication.
For record labels or experienced vinyl producers, hiring a separate cutting engineer and pressing plant is standard practice. If you’re new to vinyl production, it may seem overwhelming but is typically worth the effort compared to letting a pressing plant or vinyl broker handle everything.
Vinyl Brokers? No Thanks.
Vinyl brokers offer convenience by managing cutting, plating, pressing, and packaging. However, they create a barrier between you and the people actually handling your project. To stay profitable, brokers often cut corners, which can compromise sound quality.
If a website doesn’t show images of people cutting or pressing vinyl, you’re likely dealing with a broker rather than a pressing plant. Using a broker can result in more conservative cuts, which may sound weaker than a dedicated engineer’s cut. Always ask for transparency about who is doing the actual work.
QUALITY VINYL MANUFACTURING ISN’T CHEAP—AND IT’S NOT WORTH CUTTING CORNERS
Pressing vinyl isn’t cheap, even for records with subpar sound quality. Setup costs for pressing just one vinyl record are high, which is why most plants don’t accept very small orders (fewer than 50 copies). Some offer 100–200 copies, but with industry strain, smaller orders often face delays. Many pressing plants now require minimum orders of 500 copies or more.
High-quality vinyl is in high demand. Turnaround times can stretch up to a year, especially for top-tier pressing plants. Be skeptical of plants that promise extremely fast production; fast turnarounds often indicate lower quality.
What's Next? Finding A Cutting Engineer.
I strongly recommend hiring a dedicated cutting engineer rather than relying on a vinyl broker or the plant’s in-house cutter. Trusted engineers I’ve worked with include:
The digital pre-master I create will serve as the source for lacquer cutting, which then goes to the pressing plant.
Who Do You Recommend To Press The Vinyl Record
Based on my experience, these plants consistently produce high-quality results:
Avoid brokers whenever possible. Look for transparency and photos of actual people cutting or pressing the vinyl.
What Is The Recommendation For Vinyl Side Lengths
Side lengths affect sound quality. Below are general guidelines:
Vinyl Side Lengths at 33 ⅓ RPM
12″
16:00—18:00 = Great
18:00—20:00 = Good
20:00—22:00 = Ok
10″
0:00—12:00 = Good
Vinyl Side Lengths at 45 RPM
12″
7:00—10:00 = Great
10:00—13:00 = Good
13:00—15:00 = Ok
10″
0:00—9:00 = Good
7”
3:00—3:30 = Great
3:30—4:00 = Good
4:00—4:30 = Ok
Why Are Vinyl Pre-Masters Slightly More Quiet?
Pre-masters are quieter because limiting is reduced to give the cutting engineer headroom. Limiting increases average digital levels, which can ironically require quieter cuts to avoid distortion on vinyl. Trusting the cutting engineer’s preference for quieter pre-masters often results in louder final vinyl.
That said, not every cutting engineer cares about this preference, so it’s always best to communicate directly with your cutting engineer to confirm their workflow and ensure your pre-master aligns with their expectations.
Should I Get A Test Pressing?
Test pressings are essential to verify that the mastering and cutting translate properly to vinyl. Listen for EQ, compression, and any unwanted noise, including pops, clicks, or mis-tracking. Usually, the first few copies off a new stamper can be a little noisy, but most will play correctly.
What Is A Lathe-Cut Record
Lathe-cut records are created by engraving audio directly into a blank disc in real-time, unlike pressed vinyl made from PVC. Materials can include polycarbonate, acrylic, or other plastics. Sound quality varies with the skill of the cutter and the material used. Lathe-cut records may have more surface noise and some are mono only.
Is The Plural of Vinyl, "Vinyl" or "Vinyls"?
You can call it whatever you want. I love vinyl and you do, too. That's what matters. We can love it together.
Personally, I consider vinyl an adjective, mostly. So the singular would be a "vinyl record". And the plural would be "vinyl records".
Sometimes I use it as a noun. For example, "Let's go shopping for vinyl." Personally I never say, "Let's go shopping for vinyls." The plural is inferred.
There you go, and knowing is half the battle.
