The whole point of vinyl is the artifact. The more bells and whistles the artifact has, the more desirable the artifact is. This, of course, comes at a price..
On Monday, August 4, 2014 8:39 PM, Randy A. Riddle <[log in to unmask]> wrote:
On the other hand, if your factory specialized in one specific type of
pressing, you could probably process more orders and make up the difference
It's like trying to run a car factory that cranks out Model Ts and custom
hot rods at the same time.
On Mon, Aug 4, 2014 at 9:20 PM, Tom Fine <[log in to unmask]>
> yeah, but then you remove the reason for a good portion (half?) of the
> vinyl sales -- kewl factor and hipster cred. Many, if not most, vinyl
> buyers want artifacts more than they want high fidelity.
> -- Tom Fine
> ----- Original Message ----- From: "Randy A. Riddle" <
> [log in to unmask]>
> To: <[log in to unmask]>
> Sent: Monday, August 04, 2014 9:09 PM
> Subject: Re: [ARSCLIST] Wax & Wane: the Tough Realities Behind Vinyl's
> Another thought came to mind when reading this article.
>> It seems to me that the demands for different types of "custom" jobs -
>> colored wax versus 180 gram pressings, etc - is making the manufacturing
>> process more difficult and slowing things down for everyone. Common sense
>> would tell you that if a factory just pressed discs in one weight in black
>> vinyl and used similar printing processes for the labels and covers, the
>> results would be more consistent.
>> On Mon, Aug 4, 2014 at 8:44 PM, Tom Fine <[log in to unmask]>
>> Three observations, both one man's opinions ...
>>> 1. If United goes through on their plan to add 16 presses, others would
>>> foolish to expand for the time being. My bet is, 16 new presses at a
>>> high-output place like United will be enough capacity for now. The
>>> also neglected to mention Chad Kassem's state of the art new pressing
>>> facility in Kansas. I think Chad custom-build enough presses to do at
>>> what Gotta Groove does per day.
>>> 2. Chad told me that it's tricky, but colored vinyl can now be done so it
>>> doesn't sound any worse than black vinyl. I have to say that the Record
>>> Store Day colored vinyl release of Velvet Underground "Loaded" didn't
>>> any worse than the CD from which it was mastered.
>>> 3. The article does a good job enumerating the "art" aspects of pressing
>>> records. Ambient humidity, press temperature, the consistency of the
>>> heating system, etc, all play major roles in quality. Also, operator care
>>> with pressing cycles, centering of labels, etc. The article did not touch
>>> on what is needed to MASTER a good LP record. Too many new-issue vinyl
>>> releases are made from toothpaste-compressed masters the same as the CD
>>> and/or download releases. These sound particularly bad on vinyl because
>>> the nature of mechanical mastering and playback. It's also odd that the
>>> Cleveland place is doing so much work for ambient and minimalist artists.
>>> Those genres benefit the most from digital technology -- super-quiet
>>> backgrounds behind the subtle soundscapes. I suspect the vinyl releases
>>> driven by artifact-hunting and general hipsterism.
>>> One other thing -- the article failed to mention that there are at least
>>> two large-scale pressing plants in Europe. The biggest one, in Germany,
>>> been block-booked by UMG twice in recent years for the massive production
>>> cycles associated with Beatles box sets. I suspect this has a bearing on
>>> the long lead times at US plants.
>>> -- Tom Fine
>>> ----- Original Message ----- From: "Jeremy Smith" <
>>> [log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Thursday, July 31, 2014 11:20 AM
>>> Subject: [ARSCLIST] Wax & Wane: the Tough Realities Behind Vinyl's
>>> Interesting article on the current state of vinyl production in the U.S.
>>>> Jeremy Smith
>>>> Special Collections and University Archives
>>>> University of Massachusetts-Amherst
>>>> 154 Hicks Way
>>>> Amherst MA 01003
>>>> project twitter: @WEB_Du_Bois