In the labyrinthine world of underground music, where authenticity reigns supreme and artistic vision eclipses commercial ambition, choosing a format—vinyl, CD, or cassette—is more than just a logistical decision. It is an act of storytelling, a way to encapsulate the spirit of the music and the ethos of the label.
For underground labels operating on tight budgets and even tighter margins, this decision can feel like choosing between children. Each format comes with its own advantages and challenges, requiring a careful balancing act of artistry, practicality, and market appeal.
Vinyl: The Prestige Player
Vinyl is the undisputed champion of physical music formats in terms of cultural cachet. Its large, tactile artwork and rich, warm sound have an almost romantic allure that resonates with audiophiles and collectors alike. In the underground scene, vinyl can elevate a release, bestowing it with an air of permanence and gravitas.
However, vinyl production is fraught with obstacles. Pressing plants are often backlogged, with wait times stretching into months, and costs can be prohibitive for small labels. For a niche audience, the higher price point may also limit accessibility. Nonetheless, for those seeking to make a lasting impression, vinyl remains the crown jewel.
CDs: The Workhorse
Often dismissed as passé, the CD remains a practical and versatile option. It offers excellent sound quality at a fraction of the cost of vinyl and is straightforward to produce. For underground labels looking to reach a wider audience or fund riskier projects, CDs can be a reliable revenue stream.
Yet, the CD’s lack of a “cool factor” can be a stumbling block. In a scene where aesthetics matter as much as the music, the humble compact disc may struggle to excite fans. However, pairing CDs with creative packaging can rekindle interest and make them a viable contender.
Cassettes: The Cult Classic
Cassettes embody the true DIY spirit. Their low production costs and quick turnaround make them ideal for underground labels operating on shoestring budgets. They also cater to a growing niche of fans who appreciate the nostalgic charm of analog audio.
However, cassettes are not without their limitations. Their sound quality falls short of modern standards, and their fragility can pose issues for collectors. Despite these drawbacks, their retro appeal and affordability make them a staple in the underground scene.
The Crossroads
Ultimately, the choice between vinyl, CD, and cassette boils down to the label’s identity and goals. Are you aiming to create a collectible artifact, reach the broadest audience, or tap into a retro aesthetic? Each format tells a different story and serves a different purpose.
In an era dominated by digital consumption, physical formats remain a symbol of dedication and passion—an avenue for underground labels to forge deeper connections with their audience. Whether it’s the crackle of a vinyl record, the clarity of a CD, or the hiss of a cassette tape, each choice reflects the unique voice of the underground.
Each time a label prepares a new release, it faces the daunting decision: which format should we choose this time? Behind this choice lies a series of critical questions—how many copies are likely to sell? Is it an EP or a full-length album, and does the runtime influence the choice? Most importantly, which format best complements the subgenre?
It is undeniably encouraging for labels when one format consistently outperforms the others. This success often streamlines future decision-making, leading to quicker format selections for upcoming releases.
Of course, it is even more motivating when a label receives direct requests for a second format alongside the original release. However, such enthusiasm is usually contingent on the initial release performing well in the first place.
Nowadays it is very easy to record your metal band or project at home. Anyone can get started with (free) recording software such as Reaper. Thanks to plug-ins, you can achieve a cool guitar sound in no time and with easy software drums can be programmed. This has advantages, but also a dark side. Floris has opinions about this…
I started recording my music projects at home in the late nineties. Black metal was a music style where very primitive sound was allowed, so it was ideal music for inexperienced kids, like me…
Early days
It all started with my project Meslamtaea, late 90’s. I recorded all the instruments on my own, using two tape decks that were linked together with a self-soldered cable and only one cheap-ass microphone. The process started with the drums which I recorded in my bedroom in mono on a tape recorder. I didn’t have a click- or scratch track. So I played the drums from the top of my head with no reference. Next was the guitar: Tapedeck ‘1’ played the drums, while on tapedeck ‘2’ these drums plus the new guitar part were tracked ‘live’. Then back to tape deck ‘1’ with another guitar track, and so on with the bass and vocals. So in fact I stacked all the instruments step by step, from one deck to the other. I couldn’t mix, apply EQ or correct anything at all! It had to happen ‘on the fly’, with only the volume input from the tapedeck as a real-time mixing option. I just had to live with a mistake, or two, I made earlier in the recording. ‘Punching in’ was not possible so every part had to be recorded in one take. It was actually surprising that it sounded quite okay’ish! And Mono!
Only one early tape-dubbed track was ever released, called “Origin of Gods” coming from the ’98-02’ demo.
First recording software
Later I met a local black metal musician, Arjan, who was doing something similar. If I remember correctly, he recorded several instruments by running multiple tape decks simultaneously. Or something like that. This resulted in songs with instruments that didn’t run exactly parallel, because one deck was spinning slightly faster than the other. Today’s youth probably can’t imagine something like this anymore, but we enjoyed playing around with cables and tapes. Good old times!
Together we started the project Sagenland. We already had discovered that outside our remote region of Twente, there was something invented called ‘a computer’. And that there was something available named multi-track software. We used a cracked old version of Cool Edit. This was quite primitive but it did the job. Although, the computer kept crashing and the ‘blue screen of death’ is etched in my memory as a traumatic experience. We still recorded everything with one mic, that was plugged directly into the PC sound card. We had only simple effects and we never heard of things like compressors etc.
Sagenland – Bosvolk’ EP (coming from the split vinyl with Vargulf)
Also Meslamtaea started recording on the computer. At one point, a Line-6 with amp simulator was used for the guitar. Drums came out of a digital drum kit over time, of which the line-out output was used.
Asgrauw ‘Krater’
Years later I became the drummer of Asgrauw. After our debut album, we decided to do the production-part ourselves. For the album ‘Krater’ we recorded drums with an 8-track recorder. The guitar cabs were recorded with two microphones under a tent of blankets and pillows. I bought Cubase for recording and mixing. We had no experience in this area and the album was done in a process of trial and error. In retrospect it may not be a super professional sounding record, but it suits the band at that time and the sound is unique and raw. Maybe just because of the imperfections?
Meslamtaea – Niets en Niemendal
Meslamtaea’s ‘Niets en Niemendal’ was the first album that I used guitar plug-ins for, instead of (re)amping. It was said that this Cubase plugin was developed for Meshuggah and was also used on an album of theirs. That gave confidence to try it, while it was still quite a taboo those days. Nowadays digital rigs have become an indispensable part of metal music. Also new to this album was the use of a hybrid drum kit in which analog recordings of cymbals were mixed with sample replacement on the drums. Furthermore, for the first time I worked remotely over the Internet together with another musician. You can say, I started embracing the whole digital process.
Home producing anno 2024
Home producing has become commonplace in the world of nowadays (metal) music. There are countless tutorials on YouTube. Equipment has become affordable and there are many plugins and midi applications that make home producing at your fingertips. Good home-made productions are hardly distinguishable from professional productions. The benefits are numerous. Think about budget… No more time pressure on your recording process. Being in control of your end product. Etc. Etc.
But there are drawbacks. There are a handful of popular guitar- and bass plugins that everyone and their dog uses. Pre-recorded drum samples from the well-known suppliers are also available on the PC of every home producer. The result? Many (black)metal productions sound kind of generic.
I myself make use of the conveniences of digital software. I use plug-ins to shape my guitar-, bass- and vocal sound. Also a part of my drum-kit is triggered, so I can switch sounds afterwards by choosing certain samples that fit in the mix. Does it sound better than ‘the real deal’ (analog)? That of course depends on who’s at the controls! At the end of the day, nothing beats a professionally recorded analog drum kit or guitar-amp. But you have to know what you’re doing, while plugins are sounding great instantly. The ease of use of plugins is a handy side effect for many hobbyists… and for professionals! Many well-known metal productions have been recorded with extensive use of digital plugins. But of course they won’t admit it out loud.
Meslamtaea – Nihil Vincit Omnia was mixed at home and stem-mastered by Devi Hisgen
Brick walls and quantizing drums
Modern productions apparently need to sound as loud and full as possible, while all instruments need to be clearly audible, too. This results in productions with extreme compression and over-saturation. It sounds tiring to my old-skool ears, there is no breathing space left, all dynamics are gone. As a drummer I pay a lot of attention to drums. With new extreme metal I regularly have to check Metal Archives to see if a real drummer was recorded, or if drums have been programmed. Drums nowadays often sound too perfect, flat and lifeless. Why quantizing drums, and banish all human character out if it, when you have a real drummer of flesh and blood?
But on the other hand… What I absolutely don’t understand is that some black metal bands these days still want to sound as bad as possible on purpose. As if the album was recorded with a rotten potato that’s been rolling down the stairs. I mean, our own records used to sound that bad back in the days. But that was because we had no equipment. Not because we wanted to.
Nineties
I love hearing metal productions from the nineties. That old sound always remains my reference. Dynamics, liveliness, room for small ‘human’ mistakes. There may be room to breathe. Emperor’s ‘Anthems’, for example, I think is a fantastic mix. There’s a lot going on musically, but your ears have to dig in it for every part to hear. As a result, the album stays fascinating, you’ll hear new things every time. I also find very unique productions such as Covenant – In Times Before the Light, interesting. It is not necessarily sounding great, but very unique and recognizable.
I am aware that the current generation of metalheads like to hear things differently than I do. I grew up with old rock and roll and the nineties were my heyday. Today’s kids grow up with electronic music, computer beats and autotune vocals. When they make the step to metal, it’s not surprising their ears are used to a different sound.
In the age of digital streaming, the act of purchasing physical music—be it CDs, tape or vinyl records—has become a statement of support, a tangible connection between fans and artists. But where should one buy these musical artifacts? Directly from the band or through the record label? It’s a question that touches on the heart of the music industry.
Supporting the Band vs. Supporting the Future
When fans buy directly from the band, they’re often under the impression that their money goes straight into the pockets of the musicians they admire. It’s a direct form of support, a way to say “I believe in you” without the middleman. However, this perspective overlooks the crucial role that record labels play in an artist’s career.
Record labels do more than just press albums and ship them out. They’re involved in the artist’s development, promotion, distribution, and often provide the upfront costs for production. When fans purchase music from the label, they’re not just supporting the band; they’re investing in the label’s ability to continue supporting that band—and others like them—in the future.
The Label as a Launchpad
Consider the label as a launchpad for the band’s career. A successful release through a label can lead to more resources for marketing, touring, and producing higher quality music. It’s a cycle of growth: the more successful the label, the more they can invest in their artists.
A Symbiotic Relationship
The relationship between a band and its label is symbiotic. While the band creates the art, the label helps to amplify their voice. Buying from the label ensures that this partnership can thrive, leading to more music and more opportunities for the band to reach new heights.
Conclusion
In conclusion, while buying directly from the band is a wonderful way to show support, purchasing from the label can have a broader impact. It’s an investment in the band’s present and future, ensuring that the music you love continues to find its way to your turntable for years to come. So next time you’re considering where to buy that limited edition vinyl or CD, remember that the label’s role is pivotal in the grand tapestry of the music industry. Your purchase there could be the reason we see more from the band in the future, under the nurturing guidance of a label that believes in their potential just as much as you do.
