Why, the decision to press 33 vs 4& rpm?
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What is the age where kids are always asking, "Why?" They reach a point where they discover this word, and the magical power it has over adults, and it is so wonderful to have this power they just go around asking why why why why why? No matter what you say, "Why?" No matter how good the answer, "Why?"
Then at some point they grow up and see the senseless futility of promiscuously asking, "Why?" Some of them it is because they are smart enough to figure out that if they don't specify exactly what it is they want to know the adults can give them any damn story. And your power over them is wasted once you realize it really isn't power at all, they are just playing with you.
Some eventually learn to be careful and respectful and only ask "why" about things where it will actually accomplish something useful. Unless maybe they do just want the adults to play the game.
This I am willing to venture was a lot more explaining than you were expecting. Which only makes me wonder, "Why?"
Although risk/profit/loss certainly has something to do with it, I don't see that as the full picture as the independent labels seem to be faster at releasing vinyl than the major labels are. Case in point is the "4 men with beards" record label, which releases various artists on vinyl that were previously released on another label in a non-vinyl format.
If the company thinks a recording might be attractive to the audiophile/high-end crowd, they’ll manufacture these special Audiophile editions...and charge a bit more for them, too.
Hove you seen the $109+ packages they now have for a single album? That's quite a bit more now. You are talking about prior to the vinyl resurgence. Now, the sky seems to be the limit. I'm sure glad I bought my vinyl prior to 2010
Hi Steve - why would you bother to read the rambling reply of ego without experience.
I think I have previously mentioned my financial investment in and patronage to a specific artist who calls that studio home. Her husband is also an accomplished engineer and musician. The War Dept. and I sponsor the vinyl releases, they fund or crowdfund the digital side.
There are of course special consideration for the LP release. Will it be 100% analog in parallel? This can present some artistic and editing challenges in a Protools world...as you might imagine..The vinyl master is also different and in this case goes to an Industry expert in LA ( no need to namedrop a friend of the band.. ). This is not an instant process, some back and forth, maybe a test pressing, etc...( they have and use some vintage synths that reach pretty low... ) How hot to cut the low end is always a discussion...Then there are packaging considerations, etc...
so, time, money, complexity, handoffs, artistic intent, etc...
i know we personally love being involved and able to help.
i will send you an LP brother...
Steve, when it comes to new releases I can't find the logic. Amy Helm's older album was offered on both LP and CD, the newer one on CD only.
When it comes to reissues, the great reissue labels (MoFi---don't listen to those who have heard only the pre-Music Direct ownership releases, Analogue Productions, Speakers Corner, Intervention, Light In The Attic, all the Jazz-focus labels), they sign deals to get access to the master tapes, deals which stipulate either a certain length of time they may produce LP's, and/or number of LP's they may manufacture, and sometimes the playing speed (such as 45RPM only, when the major label wants to market their own 33-1/3 LP of a given title).
If the growth of new LP sales continues to grow, watch the major labels get tighter with their licensing agreements. Buy 'em while you can, boys!