Artist Advice Column: Pressing Your Music To Vinyl Pt. 2

Tuesday, December 3rd, 2019 |

Pressing your music onto vinyl can be a milestone for any artist — especially a DJ. It creates a tactile bond between you and your consumers and allows vinyl DJs to play your music. The vinyl revolution is here to stay and pressing your music can be a great avenue to make a little money and give your fans a better way to appreciate your music. We started looking at how to press your music onto vinyl last week and continue now with more advice on what to think about before making that big decision.

  1. Beware of Delays:

Delays are an inevitable part of the process. Delays pressing vinyl are quite common in a current market where suppliers are not rising up fast enough to meet increased demand and backlogs can be common. Make sure you give yourself enough time to get your vinyl pressed and shipped to yourself or whoever is handling order fulfillment. This goes back to timing and understanding when to make your order based on consumer demand.

  1. Cost:

The cost of pressing vinyl can be quite expensive. You can get a quote from United Records Pressing to get an approximate idea of how much it will cost, but minimum for about 100 black vinyl records will be a little over $1,000. There are plenty of other costs to consider as well. You will pay more for colored vinyl, additional test pressings, shipping, art and sleeves. You have to pay designers for art and writers if you want special notes on the sleeve. Vinyl requires a big budget, so make sure you have the cash on hand to handle bulk purchases, plus storage costs and shipping. This will then help you decide how much you want to price the vinyl. Take into account shipping and local taxes, which could depend on the state or country.

  1. Number

How many records you order will impact your cost. If you think you can sell 500 records, go ahead and order them. However, if you aren’t certain of your market, go on the lower side because it is better to sell out than have hundreds of records in boxes taking up space in your small apartment.

Some plants will require a minimum order, like 50 to 100, because their margins go up the more they can scale production. Cutting and pressing 10 records is not worth their time, unless you want to pay a premium for that. But for commercial sales, expect to order a large batch.

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Winter Music Conference is my ground zero. It has always provided the perfect storm of opportunity and excitement for up and coming artists, including myself back in 2003, where I first caught a glimpse of how it felt to have an audience respond to my work. Over the years, I’ve always made it a point to have WMC in my calendar because that’s the spot where everyone congregates and you can feel it in the air. Creativity, brother and sisterhood, FUN and most of all the chance to come together as a community and celebrate the reason we are all here—the music.”



I first went to WMC ’87, the year I started Big Beat. It was an incredibly inspiring congregation of indie labels, DJs, artists, songwriters, producers and dance music lovers dedicated to breaking and discovering new music. WMC has been instrumental in furthering the dance and electronic cause; keeping the community connected, vital and relevant, and serving as an amazing springboard for talent. It’s a fantastic crucible for the future of dance music. Long may it live.

Craig Kallman

CEO & Co-Chairman Atlantic Records, Founder Big Beat Records

I feel fortunate to have been part of the first-ever WMC. Over the 35 years, it has grown to give us an international forum where we exchange music and ideas. As an attendee and host of many of the award shows, I am proud each time I see new young talent emerge and then become world-renowned. We all have so many Winter Music Conference moments of hearing a seminal breakthrough record for the first time as well as a new DJ with star quality. Magical moments in my career.

Daniel Glass

Glassnote Records

WMC is and has always been the lifeblood of the dance music scene. Never missed a year since ’96, I can’t imagine Amsterdam Dance Event or Ibiza Music Summit existing without the blueprint that WMC originated. Seeing this revived is absolutely essential to reunifying the North American scene surrounding electronic music and its fringes.

Tommie Sunshine

Producer/DJ/Activist/Netflix Host

Miami has always been a place I’ve considered home and WMC was essential for me and the label in many ways. From showcasing our new music to keeping up with all the new artists and releases. It was the official kickoff of the year and I’m happy to see it thriving again.

Louie Vega

DJ/Vega Records