Estimated reading time: 6 minutes
As easy as it is to listen to music via digital streaming platforms, nothing can quite mimic the tangible, immersive experience you get listening to a vinyl record on a record player. Maybe that’s why vinyl records have made a significant comeback in recent years, with vinyl record sales surpassing CD sales for the first time since the ‘80s.
If you’re looking to create and sell your own vinyl albums, here’s a guide to help you understand the different record sizes and weights — with a little history, to boot.
Vinyl records were born from an invention in the late 19th century by Emile Berliner, a German-born American inventor. Berliner’s invention revolutionized the way we listen to music by introducing a flat shellac disc that spun at 78 rpms and replaced the earlier cylinder recordings. In the mid-30s, vinyl records became the format of choice, gained popularity, and became the dominant medium for music playback.
With the rise of digital formats and compact discs in the late 20th century, vinyl records experienced a decline in popularity — though they never truly disappeared from the marketplace. To the amazement of industry experts, there has been a resurgence in vinyl’s popularity in recent years, with Gen Z listeners and collectors appreciating the unique sound and physicality of vinyl records.
Vinyl records come in various sizes, each serving a specific purpose and offering different playback characteristics. They make a difference if you’re thinking about launching an EP or album. The three most common sizes are 7-inch, 10-inch, and 12-inch vinyl records.
The different speeds at which a record spins affects the playing time as well as the audio quality. Although the original vinyl records spun at 78 revolutions per minute (RPM), most vinyl records today are produced at either 45 RPM or 33 1/3 RPM.
Let’s look at how these two speeds affect the sound and duration of vinyl records.
Generally speaking, the faster a record spins, the better the sound quality. This is due to two factors. First, faster record speed can produce more sound information in less time. This is especially noticeable in the higher frequencies. Second, faster-spinning records have less distortion. Because of this, audiophiles prefer the sound of 45 RPM records.
The faster a record spins, the less playtime it can hold. The chart below shows the average amount of playing time you can get from the three vinyl record sizes at 33 and 45 RPM.
Record size Minutes per side @ 33 1/3 RPM Minutes per side @ 45 RPM 7-inch 7:00 5:00 10-inch 13:30 10:00 12-inch 19:30 14:30Typically, 7-inch records are produced at 45 RPM, and 12-inch records are produced at 33 1/3, however, you can get any size record at whichever speed you want. In fact, the 12-inch single standard size, which spins at 45 RPM, is a very popular choice for DJs, thanks to its size and audio quality, and may be the perfect choice for your single or EP.
If you are making an album, a 12-inch vinyl record at 33 1/3 RPM seems like the most sensible choice. The post-punk band Public Image Ltd, however, opted to release their second album, Metal Box, on three 12-inch 45 RPM records, which gave their album a superior sound. So, if you are looking to make a statement, you may consider choosing an unusual combination of size and speed.
There is a serious debate amongst audiophiles over whether the weight of a vinyl record affects its audio quality, with some contending that heavier records sound better and others saying that this is just a placebo effect.
Heavier vinyl records do offer a more durable product, and they are also more stable than lighter records, leading to less wear-and-tear on your stylus. Vinyl records can be manufactured in weights ranging from 40 grams to 180g. Disc Makers offers two choices for 12-inch records, 140g and 180g. Both weights will sound great and most listeners will not notice a difference in sound quality, but the heftier weight provides a higher perceived value.
Before embarking on the journey of vinyl production, there are several important factors to consider.
When it comes to vinyl production, Disc Makers has been a trusted name in the music industry since 1946, offering comprehensive vinyl record manufacturing services.
Of course, Disc Makers’ expertise extends beyond vinyl pressing. We offer graphic design, sound quality mastering, and CD packaging solutions to ensure a professional and polished final product. Go to www.discmakers.com and explore our products and services today.
Philip Kinsher is a writer, editor, and musician with a predilection for YA Sci-fi Fantasy books and rock and roll. And golf and pickleball.
So you want to start a record collection.
Are you sure? You know that music has never been freer or easier to get in the history of the world, right? You do? Okay, just checking.
You’ve come to the right place. This guide is designed to not only help you decide what equipment is best for a beginner, but figure out if it’s worth going down the hobby’s extensive rabbit hole in the first place. Because simply put, it isn’t for everyone. To keep you from burning a cabinet-sized hole in your pocket for something you might never use, here are a few things you should know up front:
– It’s a money pit. Even without an amplifier, a pair of powered speakers and a turntable will set you back at the very least a few hundred dollars. From there, records themselves can run anywhere from $1 to the hilarious $10,000, although most new vinyl falls in the $12-$30 range (Record Store Day exclusives notwithstanding). If the hobby takes, you can easily rack up several hundred more dollars in records over a year. Factor in accessories and the occasional replacement part and you’re looking at a few months rent.
– Records are inconvenient. Aside from actually conducting a quartet, playing a record is the highest maintenance music medium there is. Taking out a record, cleaning it and setting the stylus is your new double-click. Once it’s playing, you can’t set and forget it. Like a steak, you have to be on hand to flip it once the first side is done or you’ll risk damaging it. If you’re the type of person that’s left the oven on and gone out for the night twice in a month, this is a serious consideration.
– It takes up space. If you have a small apartment or move every year, a stack of 40 records, a fragile turntable, speakers and an amplifier might be more trouble than it’s worth. And especially if you’re buying used records, you’ll be surprised at how quickly you can amass an army of heavy, shelf-gobbling vinyl.
– The sound quality is theoretically worse*. Unless you’re willing to spend an ungodly amount of money on a high-end rig, a record will in theory sound worse than a “high quality” digital audio file. Vinyl records are generally inferior to CDs and lossless digital files in terms of reproducing the true sound of a recording.
So, why would anyone actually start a record collection? We thought you’d never ask.
*Vinyl sound quality is limited by one major factor: dynamic range. Dynamic range is the difference between the quietest and the loudest sound a medium can produce. A record’s dynamic range is limited physically by the size of its grooves, which can only be cut so wide before the stylus risks popping out. Digital audio does not have this limitation.
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Let’s face it: Technology has turned music into more of a utility than an art. Streaming services like YouTube, Spotify and Pandora have made it seem like it’s rightfully free, a resource as intrinsically essential to humanity as water. There’s a beautiful idealism to that, removing the barrier to something as emotionally and spiritually fulfilling as music. The flip side is that freeing the song has changed our relationship with music. There’s so much of it available for so little that, like water, there’s a tendency to take it for granted.
The vinyl renaissance could be seen as a purposeful attempt to re-invest in the idea of music. Literally, you’re investing money in music, which makes you that much more likely to spend time with it. That’s not to say all albums merit close listening–Pitbull’s hollow exuberance might as well be made for grocery store speakers. But there are many albums deserving of more than two distracted minutes of your time.
So, what’s the point?
It’s an important question. Records aren’t necessarily better on paper. Instead, the reasoning is abstract–it’s about ownership and sentimentality, ideas which digital storefronts have proven are understandably less of a concern than price point for most folks.
If that sounds hokey, we get it. Again, vinyl isn’t for everyone, and sticking with digital music doesn’t make you any less of a music fan. But if you have the means and seek a deeper connection to music, a record collection isn’t a bad place to start.
+ Records reemphasize the album format. Where playlist curation and track-by-track purchases have highlighted single songs, an LP encourages you to play an album front-to-back. In personal experience, records also compel you to appreciate the albums you buy to simply get value from your money. Buyer’s remorse is a powerful motivator.
+ A record collection is personalized furniture. It gives music a physical presence in your life, which can enrich it in myriad little ways. When you have friends over, they’ll flip through your albums, ask you why you have two copies of Billy Joel’s “Piano Man” and none of “The Stranger.” You’ll pick out a weepy emo album from your middle school days and give you hell for it. When that friend moves away, maybe you’ll find that album, put it on and laugh about it.
+ Listening to a record is engaging. There’s a purposefulness in playing an LP that you don’t necessarily get by clicking on a track on your computer. The ritual–picking the album, sliding it onto the platter, cleaning it off and setting the stylus–turns an otherwise thoughtless action into an event. And because you have to flip the damn things every 20-30 minutes, you don’t have the luxury of forgetting about them.
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You’ve heard the pros and cons and you’re still with us, bless your heart. Speaking from the unbiased perspective of a person who thought a beginner’s guide to vinyl was worth the blood, sweat and tears, good on you.
Below, you’ll find our recommendations for turntables, speakers and miscellaneous gear that you’ll want for your first rig. Take note we’ve left amplifiers out of the guide. Our reasoning is that with a set of powered speakers and a pre-amp (built-in or otherwise) they aren’t strictly necessary. More on that later. For now, let’s talk turntables.
Turntables
As you might guess, the turntable you choose is an important consideration. The good ones will treat your records right and make them sing; the bad ones can actually do damage to your albums and cause you to curse the ground your local Urban Outfitters was built on.
Audio Technica, AT-LP60, $100
For the money, the AT-LP60 is a workhorse. It’s as basic as it gets without disrespecting your records. The included cartridge isn’t spectacular, but serviceable. If you aren’t an audiophile, you won’t know what you’re missing, and if you do become more discerning, you can upgrade the stock cartridge. You won’t find a USB port on here, which can be used to rip your records onto your computer. But trust us: Ripping vinyl is too frustrating and time consuming to be worth it, and seeing as most records come with a digital download card, it’s also unnecessary.
Audio Technica, AT-LP120, $250
For another $150, Audio Technica will throw in a few more bells and whistles, some performance related and some not. An anti-skate weight and counterbalance will ensure that your stylus doesn’t put too much pressure on your records, which can unduly degrade their grooves and wreck their sound in the process. Three speed settings allow you to play the standard 33 1/3 RPM and 45 RPM records as well as the rare, single-only speed of 78 RPM. Extras include a preamp, a targeting light, so you can see where you’re dropping your stylus in the dark, and a USB port should you want to rip the odd rarity.
Project, Debut Carbon, $400
Project’s Debut Carbon is an entry-level audiophile turntable. In other words, even if your curiosity evolves into obsession, the Debut Carbon could be your first and last turntable. Aside from expected features like an anti-skate weight and a counterbalance, some minutely picky features start to spring up at this level. The “carbon” in its name refers to the makeup of its tonearm. Carbon is sturdier and less resonant than metal, and the tone arm is less likely to warp and conduct ambient noise. To the same end, the turntable’s motor hangs suspended inside its chassis by elastic bands, minimizing the vibrations that could shake the stylus and thus distort your mix.
One drawback: the Debut Carbon does not have an onboard pre-amplifier, meaning you’ll have to spend another $100 or so dollars to make your albums louder than a screaming ant. Why do they do this? To keep costs low and allow the end-user to further customize their rig.
DON’T BUY: A Crosley. We know, they look cool, they’re cheap and can be easily thrown into the attic if this whole vinyl kick goes bust. But you get what you pay for. A combination of a cheap cartridge, tonearm and dime-store speakers will make your music sound like crap and do an irrevocable number on whatever record is unlucky enough to go under its guillotine-like stylus. Just say no.
Speakers
More than any other investment, speakers should be your first priority. Your music will only sound as good as your speakers, so if you’re going to splurge on any part of your rig, make it this one.
For the sake of simplicity and price, we recommend foregoing a dedicated amplifier at first for the sake of a pair of so-called “powered” speakers–basically any set of speakers with a power cord. This is slightly controversial, but it will help keep your costs down and simplify your setup. Because of this, the speakers below all have a volume control, which is essential if you don’t have an external amplifier. You can always get an amp later if you decide you have a little more money to spend and want a bit more convenience.
Keep in mind that if you opt for a turntable without a pre-amp, like Project’s Debut Carbon, you’ll also have to buy a dedicated pre-amp.
Mackie CR3, $100
At $100 for a pair, these are the best of the bargain sets. They can’t crank too loud without playback distortion, but if you’re in an apartment, you might be keeping it down anyway. So long as you don’t crank them, you can expect a decent reproduction of your music. You won’t be floored with the sound, but if this is your first set-up, at least you won’t know what you’re missing.
KRK ROKIT 5, $300
If you can get over the whole bumblebee look, these studio monitors make for excellent sound companions to your turntable. For the price, they’re impressively true-to-sound, which means most casual listeners won’t be able to discern much difference between the sound of these and the high-end Audio Engine A5+. As you might expect from most “bookshelf speakers,” these lack the full breadth of bass. Heavy bass and vinyl have never gotten along anyways. But if you’re looking to blast Skrillex off your computer on occasion, you would do well to look elsewhere.
Audio Engine A5+, $400
What these speakers lack in savings they make up for in just about every other category. Their massive sound completely misrepresents their size. Even when pushed to their wall-shaking limits, they lose precious little clarity. The Audio Engine A5+ may not look the part, but unless you’re trying to fill a dancehall full of people, they’re more than capable for even the fussiest ear.
Etc.
Like photography, record collecting is a hobby with an endless aisle of accessories. Similarly, some are essential and others are only for die-hard obsessives. Below, our list of extras that can help you get the most out of your music.
Record Brush and cleaning fluid
Cleaning your records with a brush and fluid before you play them is a habit that will add years onto their lives. Even with a dustcover, airborne dirt can find its way onto your record’s grooves, which register as loud pops when a stylus runs over them. Aside from the unwanted distraction, this can damage your record permanently, which is, like, a total bummer.
Turntable mat
Less crucial is a sturdy turntable mat. Some turntables come with quality mats, but others stick you with a flimsy cloth mat. These mats generate static, which attracts dust. When hit by the stylus, dust causes clicks and pops and ultimately damage to your record. Anti-static, rubberized mats help minimize this. If you’re going to buy a turntable mat after the fact, it’s worth it to buy a heavier, static-resistant one to set your records on. We recommend one made of cork or thick rubber.
Cabinets
Cabinets are far from essential if you have a bookshelf, but storing your records properly is important. Record cabinets are designed to store your albums vertically, which prevents damage that can result from being stacked on top of one another. Depending on how fancy you want to get, you can get a simple container from Ikea or a sleek custom cabinet from a woodworker. Obviously this is an aesthetic choice, and has no bearing on performance.
…and even more tips for prolonging the life of your vinyl:
+ Always return your records to their sleeves after you’re done listening to them.
+ Only handle records by their edges.
+ Always keep the dust cover closed when a record is playing.
+ Clean each side of your record before use.*
+ Don’t let your cat or your friends “scratch” your records.
*Here’s how to clean vinyl records: Place your record on the turntable and turn it on. While it’s spinning (but not playing), spray a small amount of cleaning solution onto your brush. Angle the brush so the front edge of it is in contact with the record. Let the record make a revolution and slowly pull the brush at an angle towards the outer edge of the record. Do this two or three times before you set the stylus.
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Here’s where we’re wrong.
Choosing a favorite record is like choosing a significant other. Even a friend you normally respect and consider kin is liable to have wildly different, head-scratching taste. Picking ten we can all agree on is impossible, so the omissions here will be as glaring to some as the inclusions. If we missed your favorite, please forgive us. (And maybe leave it in the comment section so we can steal it.)
In light of that, we aimed for a list of musically unforgettable albums that are further elevated by top-notch production. That said, some genres are under-represented, as the format tends to work better for some styles (jazz, classical, acoustic) more than others. This doesn’t mean you shouldn’t get that 8-disk electronic drone set you’ve been dying to hear, but don’t be disappointed if it sounds unremarkable and doing sixteen stylus drops in one sitting detracts from the experience.
In no particular order…
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“Blue Train,” John Coltrane
Jazz just works better on vinyl. Like classical, there is no definitive jazz album (although some might disagree with Miles Davis’ “Kind of Blue”). For its kind, “Blue Train” is hard to beat. In the style of hard bop, Coltrane and his band play an almost harried form of the genre, like they’re late to catch a bus that’s just blocks away from the studio. In that tempo, the level of virtuosity is astonishing, thanks in no small part to a band that would go on to become apart of Art Blakey’s Art Messengers. There are nerdy takeaways here for aficionados–the saxophonist’s signature “Coltrane changes” make their first recorded appearance on the album. But if jazz is less an obsession than a piece of ambiance, it’s just as copacetic as a dinner-party soundtrack.
“Random Access Memories,” Daft Punk
Seeing how Daft Punk consciously embraced analog recording and performance in “Random Access Memories,” it’s no surprise that it shines on vinyl. From the tiniest high-hat quiver to the exceptionally massive bass, the electronic duo’s obsessive attention to detail extends into this modern disco classic’s high-quality mastering. On a turntable, it gives you a depth of listening that you just can’t get out of laptop speakers.
“Blood On The Tracks,” Bob Dylan
“Another Side,” “Blonde on Blonde,” “Self-Portrait”…well, maybe not “Self-Portrait.” But it’s impossible to pick just one Bob Dylan album. If pressed, you can make a good argument for “Blood On The Tracks.” Not only is there nary a bad song in the bunch (“Lily, Rosemary and the Jack of Hearts” is a confusing inclusion against the album’s otherwise soul-wrenching grain), but from groove to groove, side A is flush with some of Dylan’s greatest songwriting achievements. If you can get your hands on the pricier Mobile Fidelity pressing, all the better.
“Nighthawks at the Diner,” Tom Waits
This is a relatively deep cut, but a worthy inclusion to any record collection. Tom Waits is in noir mode on “Nighthawks,” spinning yarns to an in-studio audience between jazz solos and narrative asides. It’s the rare live album that benefits from its crowd, as Waits works the room like a seasoned stand-up. Through the right speakers, it’s as if you’re there with him, dodging cherry stems and caterwauling along to “Better Off Without a Wife.”
“The Band,” The Band
Go figure that it took a Canadian band to make the best Americana rock album of all time. The so-called Brown Album features The Band’s best-known numbers that even your dubstep-obsessive neighbor could join on the choruses of if the spirit moved him. Famously recorded in a West Hollywood pool house, the album sounds remarkably intimate for how jovial it is, like Robertson and co were caught in a drunken sing-along with old friends. It’s one of those albums that makes the most sense as a record. Few things sound as right as “The Night They Drove Old Dixie Down” pulled through a stylus.
“Beethoven: Symphonies Nos. 5 & 7,” Carlos Kleiber
Like jazz, the warm distortion of a vinyl record elevates the classical music listening experience. While it’s cruel to reduce the entire genre to one piece, Kleiber’s take on Beethoven’s 5th and 7th symphonies is a singularly impressive recording. A handful of Beethoven’s crowning achievements feature, many of which you’ll recognize. (Yeah, that “dun dun DUN DUN” one is on here.) Even if you don’t like classical, enough time with this record could change your mind, or at least instill a respect for the intricate musicianship that goes into making this sweeping music. At bare minimum, put it on before your S.O.’s parents come over. Like magic, it can turn the dirtiest den into a drawing room at the drop of a stylus.
“Nebraska,” Bruce Springsteen
“Nebraska” is far from the norm of Springsteen albums. Conceived originally as a demo tape, there are no triumphant horn sections or pantomime-worthy electric guitar riffs in earshot. Instead, we get Springsteen stripped down to his barest essentials, which ends up sounding a lot like an early Bob Dylan transported to a small town in the early 80s. “Highway Patrolman” is so affecting that they made a movie out of it. A bad one, but still. “Nebraska” is among the most intimate albums we’ve ever heard.
“Black Messiah,” D’Angelo
After almost 15 years, D’Angelo followed up “Voodoo” with another all-purpose masterpiece. As thematically complex as it is, thanks to its slick funk, “Black Messiah” can score parties, a night of butt-touching or a star gazing session just as well as an evening in. The vinyl pressing is a wonderful example of how the medium can breath life into the music. On wax, it’s inflected with a subtle warmth and a good showing of dynamic range that’ll seat you squarely between the bass and drums.
“Peoples’ Instinctive Travels and the Paths of Rhythm,” A Tribe Called Quest
Because it’s often mastered flat and is drowned in stylus-rocking bass, hip-hop doesn’t always translate well to vinyl. (Kanye West is responsible for some of the best albums that you shouldn’t buy on vinyl.) Like so many A Tribe Called Quest albums, “Peoples’ Instinctive Travels” is almost more funk than rap, though. This debut album by the now-legendary group isn’t packed with the hits of “Midnight Marauders,” but it has some famously rich instrumentals that show you can make powerful beats without an arsenal of sub-shaking laser bass.
“Thriller,” Michael Jackson
It’s self explanatory, but “Thriller” is an essential album for any collection, period. The songs are the reason it’s sold more than any other record in history–aside from “The Lady in my Life,” it’s almost all classics–but it’s also a significant piece of music history to own, a knowable touchstone in dance, R&B and pop history. If nothing else, the picture of Jackson holding a baby tiger on the back cover alone is worth admission.
Bonus: a note on vinyl clubs. As vinyl has made a resurgence, so has the record club. For an annual fee, these services will send you a record of their choosing each month. This can be really fun–like an extra twelve non-denominational holidays each year. But there are some downsides. For one, you must trust the company’s taste explicitly, which as we’ve probably proven with our own list, is a tall order. If you’re only planning on buying essential albums, an unknown record every month will add flab. Second, as with everything vinyl related, it’s pricey. Seeing as they are brand new albums–and in some cases, exclusive pressings–an album a month for a year will even out to $200-$300.
If the idea intrigues you, we recommend Vinyl Me, Please. They have an eclectic taste that knows no genre boundary, but so long as you keep an open mind, you’ll probably end up with a new favorite album you would have never heard otherwise. All of their monthly releases are exclusive in some manner–usually an admittedly gimmicky color variant. But occasionally, these exclusive are truly worth it. Some are long out of pressing, and in the case of Four Tet’s excellent “Pink,” the album’s first official pressing.
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At times, studying turntables can be as confusing as reading about health insurance coverage. There are more alien terms in the hobby than Scientology, and some you may never worry about unless your curiosity becomes an obsession. Still, a handful of them are important enough to know from the get-go.
Here’s a handy guide to terms you’ll run across in our guide. We recommend you print, laminate and slip it into your wallet. Or, just keep it in mind.
Cartridge: The cartridge houses your stylus. It can be found on the end of the tone arm. It converts the motion of the stylus into a tiny electrical signal.
Stylus: Sometimes called a needle, the stylus sits in the cartridge and is the point of contact between the tonearm and a record. The stylus is moved horizontally and vertically by the grooves of the record. These motions are converted into electricity by the cartridge.
Tone arm: The tone arm is the curved rod that holds that cartridge and keeps the stylus tracking properly in the record’s grooves.
Anti-skate weight: Balances the horizontal pressure of the stylus.
Counterbalance: Balances the up-down pressure of the stylus in the groove. Often found on the end of the tonearm opposite the cartridge.
Pre-amplifier: Often called a “preamp,” it takes a small signal and makes it big enough for an amplifier to work with. An integrated amplifier will have a preamp and an amp in the same case.
…and finally, some important distinctions:
Record players are all-in-one devices that house a turntable, amplifier and speakers. A turntable is the individual piece of equipment that spins records.
Vinyl is the plastic material records are pressed onto and is sometimes used as the plural of “record.” Vinyls is a misuse and, depending on who you say it in front of, will garner a casual correction or a swift kick in the ass. Personally, we don’t care. But be aware before you step into a record store.