When it comes to the history of recorded music, only one medium is guaranteed any kind of permanence. The vinyl record brought music out of the concert hall and into the homes of real working class people.
When it comes to the history of recorded music, only one medium is guaranteed any kind of permanence. The vinyl record brought music out of the concert hall and into the homes of real working class people.
Vinyl’s blue-collar roots don’t end there. The American hardcore bands of the early ‘80’s used cheaply produced 7” vinyl records to circumvent the mainstream recording industry and reach a young audience that wanted something different. Black Flag, Minor Threat, Negative Approach, S.O.A., Big Boys, Poison Idea and the Dicks all started with a call to arms pressed to vinyl and packaged in a cheap paper sleeve.
The 7” vinyl EP is more than a historical artifact or a fetish product for collectors. And while it is no longer the cheapest way for young bands to announce themselves, it is still, and always will be, the best.
Here’s how your band can do it.
RECORDING
If you have the money to spend, Jackpot! Recording or Mississippi Studios are just two options for a high quality recording. Vinyl is an analog medium, so analog recording to either 1” or 2” tape is ideal. Of course, music, and DIY music in particular, isn’t about ideal situations or perfect outcomes.
Recording your 7” using ProTools might not seem very punk rock, but if it’s cheap and represents your vision, well that’s punk enough.
REHEARSING
When you’re in the recording studio, you’re paying for the space, the tape and the engineer. The more rehearsed a band is, the less money they’re going to spend getting the recording they want.
MIXING
Mixing is a crucial part of the recording process. It’s important to not only choose an engineer that knows what they’re doing, but also to have some notion of what you want the record to sound like. Choosing an engineer who has recorded or mixed a record that you liked is one great way to avoid regret.
Each and every member of the band should be present for the mixing of the record, if possible. This can’t be overstated. Each member of a band is going to think that their instrument should be higher in the mix, and if all members are not there to advocate for themselves, it’s entirely possible that the mix will be uneven.
MASTERING
Mastering is one of the least understood aspects of producing records, so I’ll keep this simple: A good mastering engineer will make sure that you’re 7” sounds loud, clear and crisp, without any distortion that wasn’t already present in the final mix.
Mastering is essential in the process of plating and producing vinyl records, and there’s no getting around that. Most vinyl pressing plants offer in-house mastering services, but I would strongly recommend against it. A 7” mastering job from someone who really knows their stuff will cost a few hundred dollars and will make your record sound like something you want to hear on the jukebox at your local watering hole. John Golden Mastering is the industry standard in America, but I personally think that George Horn at Fantasy Studios is even better, for the same cost.
VINYL PRESSING
Once the record is mastered, the engineer who cut the record will send the parts to the pressing plant of your choice for production.
RecordTech Inc. is the best pressing plant in the United States for audiophile quality vinyl records, hands down. They take longer, cost more and can be difficult to deal with at times, but they are the best. Erika Records is the best pressing plant for colored vinyl, picture discs and other unique productions. United Record Pressing plant, on the other hand, is not flashy, and isn’t the best at any one particular thing, but they are reliable, high quality, cheaper and very easy to deal with. This is a popular resource for 7” vinyl in particular. 1,000 copies is going to be the most economical number of 7” records to be pressed for most bands, but most pressing plants will press as few as 200 copies.
ARTWORK
Depending on the pressing plant that you choose, sleeves may or may not be included with the cost of your record. For bands doing small runs of a 7”, particularly if there’s an art major in the band, it may be best to silkscreen your own sleeves.
THE BIG DAY
After 2-4 weeks you’ll receive test pressings of your record from the pressing plant. Listen to these test pressings carefully. Play the record on a variety of different sound systems of varying quality. Once you approve the test pressings, it should take 6-10 weeks for the record to be delivered to your front door. If you follow this primer carefully, this is going to be one of the most exciting days of your life. Don’t fuck it up
