If you are an active recording artist and/or band, chances are you have considered releasing some of your music on vinyl. Having a physical product is crucial for independent musicians as the profit margins on each unit mean that it is quite possible to make money selling them. Since 2022, vinyl records have outsold CDs every year, and the margin continues to grow. If you have the budget, it makes sense to consider vinyl releases. Here’s some info on how to structure your song order for maximum playability, as the limits of the vinyl medium do offer some constraints.
Table of Contents:
• Understanding vinyl record sizes
• Choosing the right size
• Determining the optimal number of songs
• Common vinyl release configurations
• Side A vs. side B: strategic planning
• Planning your vinyl project
Understanding vinyl record sizes
At Disc Makers, we press custom vinyl records in two sizes: 12-inch and 7-inch. Let’s learn more about these options.
12-Inch vinyl
When discussing vinyl record sizes, this is the obvious and appropriate starting point. The standard size for an LP (long playing) vinyl record, 12” vinyl has also been used extensively for singles, especially as dance mixes for DJs in clubs. At 33 1/3 RPM, a 12” record can usually hold 18–20 minutes on each side. Theoretically, that can be pushed to 22 minutes, but you will sacrifice sound quality and volume. At 45 RPM, the optimal length per side is 9 minutes and the max is 13.
7-Inch vinyl
Although super popular in the early years of rock ‘n roll, sales of 7-inch vinyl have drastically waned in recent years. Word has it, though, that many punk bands are still regularly pressing 7-inch vinyl for sale! In the late 80s/early 90s, it was an appealing format to independent artists as making them was cheaper than making CDs. There was also a strong 7-inch culture among college radio DJs at that time.
7-inch vinyl at 45 RPM is ideally 3.5 minutes on each side, with a max of 6 minutes. This constraint birthed the modern pop song length as radio DJs and listeners came to expect that all pop songs would be 3:30 long. You can press 7-inch vinyl at 33 1/3 RPM with an ideal of 5 minutes and a max of 8 minutes a side, but it could be prone to distortion, so it’s not a great idea.
Choosing the right size
Picking the right size for your vinyl record comes down to the type of release you’re doing (a single versus a full album), as well as other factors.
Consider your runtime
When trying to figure out vinyl record sizes for your release, perhaps the greatest consideration is the length of your project. There is only so much music that one can fit on a vinyl record. Even if you are releasing a single or a small collection of songs, you might want to consider 12” vinyl for superior sound quality.
Consider your audience and the collectability
Consider what kind of physical product your audience might want as well. If you’ve never made 7” vinyl and you have an established audience, there might be a benefit to making something that is novel and/or collectible. If you’re just starting out and looking for a physical product to sell to grow your audience, then 12” vinyl is most likely the size for you. But if you are in a genre like punk where 7” singles are still commonly made by many bands, you might want to consider that as a place to begin. Evaluate your listeners, then make your decision accordingly.
Factors influencing song capacity
There are limitations to vinyl, as there are with any physical medium. One thing to note is that as you add more music to a vinyl record, the grooves get closer together, and this affects sound quality. They also become shallower, which leads to a decrease in overall volume. Also, as the cutting stylus approaches the center of the disc, it has to cut at a more severe angle, which can create distortion in the music closest to the center hole. This could be especially problematic if your song has heavy bass. The frequency response flattens closer to the hole so the bass will simultaneously be less audible at the same time it distorts. Put those songs on the outside of the vinyl record for best audio results. If you’re truly married to having a large number of tracks on your record, consider a double LP or even a triple album instead of cramming it all onto one record with diminishing returns. If your music has a very wide dynamic range, you might also want to consider pressing 12” vinyl at 45 rpm; it will cost more money to press more records but the sonic results will be worth it.
Determining the optimal number of songs
We get it: You love all of your songs! But when it comes to narrowing down how many will fit onto your vinyl record, it’s time to self-edit.
Song length considerations
In planning an album for vinyl release and considering vinyl record sizes, you’ll want to know your song lengths exactly and plan each side so it adds up to approximately 18 minutes. Three 6-minute songs, four 4.5 minute songs … you get the point! Whatever combination you can make fit comfortably is the one you should go with. Don’t squeeze as much music as you can fit on there and sacrifice sound quality! Either edit your song choices judiciously or make an extra disc; it’s not worth it to spend a bunch of money only to have your records sound inferior.
Impact of groove spacing
When you put too much music on one side of a vinyl record, the grooves end up being very close together. The closer the grooves are to each other, the worse your record will sound. If you leave space on the disc, the extra space will give your music literal room to breathe, especially if you have deep bass frequencies. The lower the pitch, the wider the groove becomes, and the more space it requires. Conversely, higher frequencies require tighter spacing. The stylus needs to be able to track these grooves accurately. So, make sure your music comes in exactly or under the requisite 18–20 minutes a side, or press 12” vinyl at 45 RPM to ensure maximum tracking of the grooves. Either of these are solid solutions to dealing with the limitations of vinyl record sizes.
Audio quality vs. song quantity
If you don’t particularly care about the sound quality of your record, feel free to push the music limits per album side as far as you like. But for those who do care, leave actual time and space for the grooves to be cut properly. The less music per side, the better each individual track will sound. If your music has great dynamic range — soaring highs, resonant lows, crescendos, and pianissimos (super-soft parts) — then it is doubly important to not force too much music onto the surface of the vinyl.
Common vinyl release configurations
Now, let’s take a look at the different ways to release your music on vinyl.
Single albums
Most records are single albums containing one disc. Generally, these are 12” vinyl playable at 33 1/3 RPM. This format was introduced by Columbia Records in 1948 and was the dominant music delivery system for 40 years until the arrival of the CD.
Double albums
Like single albums, double albums are generally 12” vinyl discs playable at 33 1/3 RPM. With the new trend of 45 RPM 12” audiophile pressings, however, you can now find many single albums extended into double album sets as the groove spacing allows for better sound quality.
Extended plays (EPs)
Traditionally on 12” vinyl, the extended play (EP) album is a 4–6 song project intended to give listeners more than a single and a bit less than a full album. Very common with indie bands of the early ‘90s, these mini albums can be a nice way to give your audience something different. EPs were invented by RCA in 1952, as an attempt to compete with the LP.
Singles
The 7” 45 RPM vinyl single was first released by RCA Victor in 1949 and became the dominant medium until the 1960s when the LP began to dominate. The format peaked in 1974 with 200 million sold in the US. In the 1970s, 12” singles became popular in discos with DJs because of their ability to hold longer dance-mix versions of songs. Depending on your genre and the size of your following, it may or may not make sense to make a vinyl single, but certainly an option that some artists still pursue.
Side A vs. side B: strategic planning
You want your album to sound good, right? Here are some tips for making that happen.
Balancing the album experience
The live music coach Tom Jackson has a set graph that he uses to show artists how to structure a 45-minute live set. The main principle involves changing the pressure and energy you put on the audience to keep them entertained and interested. Another key concept he advocates for is the idea of not singing songs, but creating moments. Some of the categories Tom delineates are musical moments, big-fun moments, quiet moments, and great song moments.
The same principles hold true for structuring an album. Think of it like a 36-minute live set with an introduction, a great song moment, a musical moment, a big-fun moment, a quiet moment, and a closing. The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band was intentionally structured like a performance with the orchestra tuning at the beginning and the closing reprise bookending the album. Whether or not you follow Tom’s ideas, you’ll want to change things up by alternating your up-tempo tracks with the quieter, more moody songs. From a purely technical standpoint, it’s better to put quieter songs near the center of the disc to avoid distortion.
Creative considerations for each side
There are no hard and fast rules for sequencing an album. It’s more art than science, and more like throwing spaghetti at a wall than painting an oil painting. That being said, there are a few tried-and-true principles that can assist in planning your album sequence. Your main goal is to capture the listener’s attention and keep it. Too many similar songs in a row becomes mundane and will cause your listeners to tune out. It’s good to start side A with a representative track that tells the audience who and what your album is all about. The first song on side B should perform a similar function. The louder, more bass-heavy tracks should be at the outside of the disc and the quieter ones near the center for best sound quality and reduced distortion.
Study the great albums that you love to see how the artists open, close, and change the pressure and energy on the listener in the middle. Some albums like The Dark Side Of The Moon are like one long, composed piece; each side serves as one act of a theatrical production. Make sure you mix up tempos and keys; it’s frustrating to finish your record only to realize all your songs are in the same key! Anything to vary the monotony and make things more interesting for the listeners is good. A lot of hip-hop albums put skits in between tracks to make the album more of an experience. Ultimately, follow your instinct for what feels right. Often, the album order reveals itself to its creators. Keep in mind the technical limitations as well, and you’re sure to have a solid, well-selected song sequence.
Planning your vinyl project
Lastly, let’s get a plan in place for bringing your vinyl project to fruition.
Step-by-step planning process
If you want to make vinyl records, the first step is (obviously) to create some recorded, mixed, and mastered music. Then, based on the length of your project, select a vinyl record size — 12” or 7” — and pick the speed, either 33 1/3 or 45 RPM. You’ll need album artworkyou will target for the cover, back cover, inside panels (if it’s a gatefold package), and the label.
Select a sequence for the album and make sure your masters are in that sequence. Make sure that the music is exactly like you want it, because making changes after manufacturing is expensive and time consuming. Select a pressing plant and graphic design firm, or work with Disc Makers to care of both your printing and pressing needs. If you can afford it, you might want to hire a third-party lacquer cutter to ensure that your master lacquer is made with the utmost care and consideration. Preparing your music, choosing your manufacturing partners, and choosing your vinyl record size and package are all steps that need to be carefully and methodically completed in order to arrive at the point of readiness to press your vinyl.
Budget considerations
Pressing vinyl is not the cheapest way to release your album. If you are a band just starting out, you might want to work on growing your audience and release your projects digitally until you get to the point where there’s an actual market for your record. But if you can afford every step of the process, vinyl records are a great thing to have and to sell. Make sure you can afford quality mastering for vinyl, cutting the lacquer, printing the discs, designing the artwork, and all the associated costs. Mastering and cutting the lacquer are the steps where you really do get what you pay for; don’t skimp here! Money spent on these steps will yield excellent results later.
Working with manufacturers
It is possible to approach pressing plants directly these days if you know what you are doing. All-in-one companies like Disc Makers can be a one-stop shop. You provide your artwork and masters, then they walk you through the entire process step by step. Keep in mind that the manufacturing process is not an exact science; there will be slight variations between your records, errors and delays are part of the process, and, while you can usually pay to rush your order, it is better to allow yourself plenty of time and pay close attention to details to make sure your vinyl project comes out exactly like you want it. Reach out to Disc Makers to get started today!
Chris Huff
Chris Huff has been a professional singer, multi-instrumentalist, songwriter, and producer for over 25 years. He has worked as a sideman with Peter Yarrow (Peter, Paul, and Mary), Echo and the Bunnymen, Chuck Hammer (David Bowie, Lou Reed), and Tom Kitt (Broadway composer of Next To Normal). Chris also wrote liner notes for David Bowie’s Live And Well CD.
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