If you missed part one, click here to determine if pressing vinyl is the right choice for you and your music.
"I've never not had a turntable, and my records have never been packed away," says Record Store Day co-founder Carrie Colliton. "I really like the ritual of it, how you have to pay attention to it when you're playing a record, and you have to interact with it."
Vinyl is back in a big way – and both artists and consumers are excited for the same reasons: vinyl, despite its limitations, gives the listener so much more, reveling in each nuance, discovering new nooks and crannies in the larger-than-life sound, and decoding the masterpiece of your choice with the aid of liner notes and cover art. "The frequency range of a record closely mirrors that of what you can hear," explains Jay Millar, marketing director of Nashville's United Record Pressing. "But even in situations where I know something is sourced digital, there is a certain unexplainable sound that can only come from the needle physically interacting with the media."
There's a lot of work that goes into getting a record pressed. In part one, I touched on some things that you'd want to consider before even striking out on such an endeavor. Here's what you need to do to get things moving. A few points will be reiterated and expanded upon because, well, they're important.