Left for dead in the 1980s, vinyl records are now the music industry’s most popular and highest-grossing physical format. Getting them manufactured, however, is increasingly a challenge.
Within the Indianapolis office of Joyful Noise Recordings, a specialty label that caters to vinyl-loving fans of underground rock, is a corner that employees call the “lathe cave.”
There sits a Presto 6N record lathe — a 1940s-vintage machine the size of a microwave that makes records by cutting a groove into a blank vinyl platter. Unlike most standard records, which are pressed by the hundreds or thousands, each lathe-cut disc must be created individually.
“It’s incredibly laborious,” said Karl Hofstetter, the label’s founder. “If a song is three minutes long, it takes three minutes to make every one.”
This ancient technology — scuffed and dinged, the lathe looks like something from a World War II submarine — is a key part of Joyful Noise’s strategy to survive the very surge of vinyl popularity the label has helped fuel. Left for dead with the advent of CDs in the 1980s, vinyl records are now the music industry’s most popular and highest-grossing physical format, with fans choosing it for collectibility, sound quality or simply the tactile experience of music in an age of digital ephemerality. After growing steadily for more than a decade, LP sales exploded during the pandemic.
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In the first six months of this year, 17 million vinyl records were sold in the United States, generating $467 million in retail revenue, nearly double the amount from the same period in 2020, according to the Recording Industry Association of America. Sixteen million CDs were also sold in the first half of 2021, worth just $205 million. Physical recordings are now just a sliver of the overall music business — streaming is 84 percent of domestic revenue — but they can be a strong indication of fan loyalty, and stars like Taylor Swift and Olivia Rodrigo make vinyl an important part of their marketing.
Yet there are worrying signs that the vinyl bonanza has exceeded the industrial capacity needed to sustain it. Production logjams and a reliance on balky, decades-old pressing machines have led to what executives say are unprecedented delays. A couple of years ago, a new record could be turned around in a few months; now it can take up to a year, wreaking havoc on artists’ release plans.
Kevin Morby, a singer-songwriter from Kansas City, Kan., said that his latest LP, “A Night at the Little Los Angeles,” barely arrived in time to sell on his fall tour. And he is one of the lucky ones. Artists from the Beach Boys to Tyler, the Creator have seen their vinyl held up recently.
“It’s almost how I feel about playing live music,” Morby said in an interview. “I now count every show as a success. ‘Wow, we pulled it off — no one got Covid.’ Now I know what it’s like for the world to completely stop. So even if it’s going to be a little late I’m still grateful for that.”
For Joyful Noise, the vinyl crunch has also presented a puzzling problem. Up to 500 V.I.P. customers pay the label $200 a year for special editions of every LP it makes. But the production holdups mean the label cannot predict which titles will be ready during 2022.
“How do we in good conscience sell this for next year,” Hofstetter said, “if we don’t know when these records will show up?”
The label’s solution is to make lathe-cut singles for each of the eight albums it intends to release next year, as placeholder bonuses while its customers wait. Doing so will cost Joyful Noise money and time — Hofstetter groaned as we calculated that eight records with five minutes of music per side, cut 500 times each, would take 666 hours of lathe work — but the label sees it as a necessary investment.
Others are just as frustrated. Thrill Jockey, a Chicago label for indie-rock connoisseurs, wants to celebrate its 30th anniversary next year with a series of reissues, but its founder, Bettina Richards, said she has no idea which titles can be made in time. John Brien of Important Records, which releases work by contemporary composers, recently declared online that “vinyl is dead,” but clarified in an interview that the format is too essential to abandon.
Not even the biggest stars are immune. In an interview this month with BBC Radio, Adele, whose album “30” is due Nov. 19 — and is sure to be a blockbuster on LP — said her release date had been set six months ago to get vinyl and CDs made in time.
“There was like a 25-week lead time!” she exclaimed. “So many CD factories and vinyl factories, they bloody closed down even before Covid because no one bloody prints them anymore.”
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Within the Indianapolis office of Joyful Noise Recordings, a specialty label that caters to vinyl-loving fans of underground rock, is a corner that employees call the “lathe cave.”
There sits a Presto 6N record lathe — a 1940s-vintage machine the size of a microwave that makes records by cutting a groove into a blank vinyl platter. Unlike most standard records, which are pressed by the hundreds or thousands, each lathe-cut disc must be created individually.
“It’s incredibly laborious,” said Karl Hofstetter, the label’s founder. “If a song is three minutes long, it takes three minutes to make every one.”
This ancient technology — scuffed and dinged, the lathe looks like something from a World War II submarine — is a key part of Joyful Noise’s strategy to survive the very surge of vinyl popularity the label has helped fuel. Left for dead with the advent of CDs in the 1980s, vinyl records are now the music industry’s most popular and highest-grossing physical format, with fans choosing it for collectibility, sound quality or simply the tactile experience of music in an age of digital ephemerality. After growing steadily for more than a decade, LP sales exploded during the pandemic.
Advertisement
Continue reading the main story
In the first six months of this year, 17 million vinyl records were sold in the United States, generating $467 million in retail revenue, nearly double the amount from the same period in 2020, according to the Recording Industry Association of America. Sixteen million CDs were also sold in the first half of 2021, worth just $205 million. Physical recordings are now just a sliver of the overall music business — streaming is 84 percent of domestic revenue — but they can be a strong indication of fan loyalty, and stars like Taylor Swift and Olivia Rodrigo make vinyl an important part of their marketing.
Yet there are worrying signs that the vinyl bonanza has exceeded the industrial capacity needed to sustain it. Production logjams and a reliance on balky, decades-old pressing machines have led to what executives say are unprecedented delays. A couple of years ago, a new record could be turned around in a few months; now it can take up to a year, wreaking havoc on artists’ release plans.
Kevin Morby, a singer-songwriter from Kansas City, Kan., said that his latest LP, “A Night at the Little Los Angeles,” barely arrived in time to sell on his fall tour. And he is one of the lucky ones. Artists from the Beach Boys to Tyler, the Creator have seen their vinyl held up recently.
“It’s almost how I feel about playing live music,” Morby said in an interview. “I now count every show as a success. ‘Wow, we pulled it off — no one got Covid.’ Now I know what it’s like for the world to completely stop. So even if it’s going to be a little late I’m still grateful for that.”
For Joyful Noise, the vinyl crunch has also presented a puzzling problem. Up to 500 V.I.P. customers pay the label $200 a year for special editions of every LP it makes. But the production holdups mean the label cannot predict which titles will be ready during 2022.
“How do we in good conscience sell this for next year,” Hofstetter said, “if we don’t know when these records will show up?”
The label’s solution is to make lathe-cut singles for each of the eight albums it intends to release next year, as placeholder bonuses while its customers wait. Doing so will cost Joyful Noise money and time — Hofstetter groaned as we calculated that eight records with five minutes of music per side, cut 500 times each, would take 666 hours of lathe work — but the label sees it as a necessary investment.
Others are just as frustrated. Thrill Jockey, a Chicago label for indie-rock connoisseurs, wants to celebrate its 30th anniversary next year with a series of reissues, but its founder, Bettina Richards, said she has no idea which titles can be made in time. John Brien of Important Records, which releases work by contemporary composers, recently declared online that “vinyl is dead,” but clarified in an interview that the format is too essential to abandon.
Not even the biggest stars are immune. In an interview this month with BBC Radio, Adele, whose album “30” is due Nov. 19 — and is sure to be a blockbuster on LP — said her release date had been set six months ago to get vinyl and CDs made in time.
“There was like a 25-week lead time!” she exclaimed. “So many CD factories and vinyl factories, they bloody closed down even before Covid because no one bloody prints them anymore.”
Advertisement
Continue reading the main story
Vinyl Is Selling So Well That It’s Getting Hard to Sell Vinyl (Published 2021)
Left for dead in the 1980s, vinyl records are now the music industry’s most popular and highest-grossing physical format. Getting them manufactured, however, is increasingly a challenge.
