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vinyl records

“I don’t know if there’s ever a perfect time to open something like this,” says Jim Davis with a laugh. 
Davis, president of audiophile retailer Music Direct, is standing at the front of the newly unveiled Fidelity Record Pressing, a high-end vinyl pressing plant in Oxnard, Calif. And while he doesn’t believe there can be a “perfect” time to open a new pressing plant, he does believe in the “right” time, adding: “Our niche in this industry is the high-quality end, and there’s always room for someone making a better quality product. So I’d like to think it’s the right time because we have the right people who put this plant together, and that’s going to make all the difference in the world.” Plus, as he admits while scanning the state-of-the-art facility during an invite-only preview, it’s “very encouraging that people wanted to see what’s going on here.”

Davis co-founded Fidelity with the father-and-son team of Rick and Edward Hashimoto; the two have over seven decades of pressing plant experience combined and have emerged as leaders in quality and proficiency. Rick sees Fidelity as an opportunity to bring high-end vinyl back into focus. “I think that commercial records have been kind of pushed out the door [lately], and I think it’s important for the vinyl industry to maintain a high-quality presence,” Rick says.

Fidelity Record Pressing Plant

Courtesy of Fidelity Record Pressing

One way Fidelity’s practices help set its products apart are the burnished edges, which Edward says is an “extra hassle” but well worth the quality. “Whether you realize it or not, [the edges of vinyl are] one of first things people notice,” he says. Another way is through the plant’s record cooling process, in which only five vinyl are stacked on aluminum plates (as seen above) to help preserve disc integrity by drying slowly. Specially designed spindles also run through the center to hold each disc and prevent warping.

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But perhaps Fidelity’s biggest differentiator is that the plant presses both vinyl and SuperVinyl, a proprietary compound developed by PVC manufacturer Neotech and Record Technology Inc. (RTI) exclusively for Mobile Fidelity Sound Labs (MoFi). The composition features carbonless dye, resulting in a quieter surface that reduces noise floor and enhances groove definition. (Manufacturing costs for SuperVinyl can be eight times more than regular vinyl.)

After a two-year build, Fidelity officially opened at the start of 2024 as the pressing plant for MoFi; it soon started accepting vinyl orders from outside clients. There are currently six presses (manufactured in Nashville by Record Pressing Machines LLC) that can churn an estimated annual capacity of around 1 million records. Another four presses are on the way (the plant can accommodate a total of 12). As of now, one employee operates up to three machines, with additional employees focusing full-time on quality control, which includes spot listening to every 40-50 records for around 30 minutes.

“If you have a flawed record, you may as well just stream it on Spotify,” says Rick. “But if you have a great sounding record, you’re going to want to play that record over and over and that’s what’s going to keep people coming back to vinyl. It’s got to be great — and I think that’s what we do here.”

Rick and Edward Hashimoto

Courtesy of Fidelity Record Pressing

About a decade into his career with Universal Music Group (UMG) — primarily heading A&R and working as a staff producer for Harvest Records — Tim Anderson had a front-row seat to the late-2010s vinyl boom. “It was still an archaic, dinosaur thing,” he recalls of how labels approached record pressing. He started to wonder why records were so hard to manufacture and had such long lead times — and what he could do about it.
By the time the pandemic hit, Anderson — who is also a songwriter-producer, composing for Suits and working with acts like Banks, Halsey and twenty one pilots — had left his major-label gig and had little interest in producing. Unsure of what to do next, his wife kept reminding him that music is what he knows best and suggested he tackle the vinyl issue that had plagued him years ago.

Twenty minutes later, Anderson made his first call to Scotty Coats, an old friend of his wife’s and Capitol Music Group’s one-time vinyl marketing manager. Coats immediately expressed his belief in the idea of a more sustainable approach to vinyl manufacturing. The call motivated Anderson — who doesn’t have an environmentalist background, admitting he gets confused trying to properly sort his recycling — to figure out how to make his vision a reality.

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He found a video online posted by Dutch company Green Vinyl Records, which detailed the development of an environmentally friendly alternative to record manufacturing that is free of polyvinyl chloride. “I’d been told my entire life that you needed the PVC to make a record sound great, and I just believed it,” Coats says. “Until Tim came along and inspired me to find a better way.”

“We saw it right when we met them that they had made something that could be this huge unlock,” Anderson recalls of GVR. He says the company needed a partner to help scale what it had built, and Good Neighbor was able to provide production contacts at many independent and major labels, especially in the United States. “They needed us and we needed them,” he says.

Soon after, Anderson met Reyna Bryan, president of innovative packaging company RCD, and in late 2023, he quietly launched Good Neighbor, a first-of-its-kind record-pressing company that manufactures fully recyclable discs, with Reyna as CEO and Coats as vp of sales and marketing. He later hired Coats’ friend and UMG manufacturing veteran Jonny O’Hara as vp of productions and operations. “As more people were stepping back into the world of vinyl, a lot of artists were like, ‘Is there a more eco-friendly alternative?’ ” O’Hara recalls. “There were better options coming online, but they were never to the same degree as Good Neighbor.”

“In my business of transforming supply chains, any opportunity to reduce carbon production or eliminate chemicals of concern from the process is a major win,” adds Bryan. “Good Neighbor achieves both.”

Key stakeholders of Good Neighbors, from left: Tim Anderson, Scotty Coats, Reyna Bryan and Jonny O’Hara.

Ryan Kontra

Instead of a traditional hydraulic press, which uses energy to heat up and cool down, GVR’s “futuristic-looking” machine (as O’Hara describes it) uses injection molding of polyethylene terephthalate (PET plastic), which reduces energy by 60% and increases manufacturing by three times. (GVR’s single press in the Netherlands, running three eight-hour shifts, has an estimated capacity of 1.2 million records a year.) A second press will arrive in the United States in mid-September. (Good Neighbor is currently raising money through the team’s pro-skater friends and music managers.)

GVR’s Pierre van Dongen and Harm Theunisse say they looked to the pressing process for CDs and DVDs as inspiration, noting how precise and adaptable it was. And while they say some research on trying this process with records was done in the 80s, it was never finished — until now. It took them six years to “perfect the development,” as they say, which included testing over 200 materials, optimizing molding and developing the direct to record label printer. 

Coats and O’Hara are particularly excited about how this new process eliminates paper center labels that require high-heat baking in order to stick to PVC. Instead, Good Neighbor’s labels will be directly printed onto the PET plastic, allowing for individual customization of records — a sustainable step forward for exclusivity. Meanwhile, Anderson is thrilled that the machine is “material-agnostic,” meaning it can mold any material into a record, but Anderson says most don’t sound great — yet. The company is currently testing recycled bottles.

And while Anderson says he leaned on his “purist” friends for feedback on test pressings of the PET plastic and that no one pushed back on quality after listening, he still acknowledges that “audiophiles might not be our target consumer.” With Good Neighbor, he says, the goal isn’t to shame vinyl connoisseurs for their existing collections but to set a new precedent for sustainability in record production.

“If this industry keeps growing at this pace, it’s got to change … When the biggest artists in the world start selling millions and millions of these shrink-wrapped [vinyl], that’s when I was like, ‘This feels like something that would be fun to disrupt.’”A version of this article will appear in the June 8, 2024, issue of Billboard.

It’s Small Business Week, and Kamala Harris is celebrating by supporting the record store industry.

The Vice President stepped out of Home Rule Records in Washington, D.C., this week and stopped to tell photographers all about her new purchases. “Do you know music?” she teased in a video posted to her Instagram page on Tuesday (May 9).

She goes on to pull out a record by Charlie Mingus, whom she deems “one of the greatest jazz performers ever;” Roy Ayers’ Everybody Loves the Sunshine, one of her “favorite albums of all time;” and Louis Armstrong and Ella Fitzgerald’s “beautiful” collaborative 1959 album, Porgy and Bess.

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“Mingus, Ayers, Fitzgerald and Armstrong—if you don’t know, now you know!” Harris captioned the post.

Harris has always been passionate about music. In March, she released an official Spotify playlist of African music to highlight her recent trip across the continent. The playlist, titled “My Travels: Ghana, Tanzania, and Zambia,” was designed to “amplify the artists and sounds from my travels” and features Ghanaian and Ghanaian-American artists like Amaarae, Moses Sumney and Black Sherif; Tanzanian and Tanzanian-American artists like Harmonize, Zuchu and Alikiba; and Zambian and Zambian-American artists including Chile One Mr. Zambia, Yo Maps and Chef 187.