The Benefit of Hindsight
Five things I wish I knew before I started collecting vinyl
Experience is not exactly a hot commodity these days. We are constantly encouraged to think outside the box. Throw shit at the wall and see what sticks.
There is no denying that, in certain areas of life, improvisation is key. However, when it comes to one of the oldest music formats still alive, it’s no surprise that a healthy dose of tried and tested methods can go a long way.
Here’s a rundown of lessons I learned over the years which will hopefully be useful to you wherever you are in your vinyl journey.
You don’t (really) want all the records you think you want
There was a time when I used to buy certain records only to realise, a couple of months later, that I didn’t actually need them.
I still like them, sure. But they are not significant enough—culturally, musically, or on a personal level. I don’t think about them. I never, or very rarely, spin them.
It can take a while to distinguish what tickles your fancy versus what you really want to call your own.
We all know the benefits of optimising shipping costs or trips to the record store. When you spot one of your all-time favourite records, it makes sense to try and buy at least one more item from the same seller.
Sometimes you kind of force it though, and you end up with records you don’t need, don’t intend to sell, and never actually spin. The nice-to-haves.
In the meantime, you still haven’t got a copy of that record that was playing in the background during your first kiss or when you found out your wife was pregnant.
Vinyl costs money and takes up space. A lot of space. Use your resources intelligently.
Make room and save your cash for the really important records in your life. Prioritise them. The rest can wait.
Indie stores are for bargains, not reissues of classics
You see those quirky little record stores with wooden floors, cool posters on the walls and a hip atmosphere?
We call them indie stores. They tend to focus mostly on second-hand vinyl, with a small selection of new (unused) records. In this latter group, you will typically spot reissues of classics (think Dark Side of the Moon, Sgt. Pepper’s, or Songs in the Key of Life).
For better or worse, indie stores are a magnet for tourists. They price reissues of classics at a premium to catch you off guard while you’re on a vinyl high. If you want those pressings, look elsewhere.
The gold in these stores lies in the bargain bins.
Very Good doesn’t mean what it says on the label
In England, there is a tendency to understate everything. So, for example, when an Englishman says he’s just eaten “an okay chicken”, chances are it was the best chicken he’s ever had.
I used to find this a bit puzzling when I first set foot on these islands, but I subconsciously adopted the habit very quickly, as it’s pretty much ingrained in everyday life.
So imagine my surprise when I found out that, in the vinyl world, “Very Good” can still mean tons of scratches, very loud surface noise, and a record jacket falling apart.
The irony is this seems to be universal: you may well be in England, Armenia or Tuvalu, but the grading of records is never conservative enough.
If, like me, you favour original pressings, you’ll need to get up to speed with the different criteria used to grade records.
Nowadays I invariably go for “Near Mint”, especially when buying online, because it sets a benchmark or threshold that is harder to manipulate.
“Very Good” leaves a lot of room for interpretation. Don’t even get me started on “Very Good +”. If you can, go for Near Mint.
Stylus all the way
Collectors spend a lot of time, money and energy choosing the best possible turntable and speakers they can afford.
It’s all very nice, but what about your stylus? You have no idea how many experienced collectors look at me like an electrocuted rabbit when I ask them what stylus they have.
And yet, it’s the only part of your system in direct contact with the grooves. You would think it matters, right?
You don’t need to become an expert, though. Familiarising yourself with the main types of styli is a good start.
When choosing your turntable, find out what stylus it comes with, and whether you would have the option to upgrade it without having to change the whole cartridge.
The difference in sound quality a stylus upgrade can make is incredible. I cannot stress this enough.
Get used to being by yourself
An acquaintance —who shall remain anonymous— once asked me for advice as they wanted to get a turntable to entertain guests at a house party. My response was blunt but sincere: Don’t bother. People don’t care.
The average individual couldn’t care less about vinyl. Some may find it quirky or cool for a few minutes, but most people won’t give a damn about the different variants you own or your latest vinyl find. They care even less about sound.
Vinyl is, for the most part, a solo journey. Make sure you are comfortable with this. You need to be happy in your own company.
Don’t rely on others —friends, relatives, acquaintances, or even fellow music fans— to visit record stores or spin some vinyl together. Many collectors give up after a few months due to costs, a shift in priorities or, simply, life getting in the way.
Get used to visiting record stores by yourself. If your children are old enough and you’d like them to inherit your passion, encourage them to shop by themselves every now and then. Don’t depend on anyone. Don’t let anyone depend on you.
The sooner you embrace this, the more liberating it feels.
We can all get together and exchange tips, advice, recommendations and partake in celebrations of the “vinyl community” (whatever that means), but don’t expect vinyl to be a social activity. It’s not. And that’s where most of the fun lies—if you know where to find it.
What lessons have you learnt along the way? See you in the comments.
Thanks for reading/listening. Happy spinning!
One thing I would add is that indie shops like you describe are a "magnet for tourists" only if you're in a locale that is also a magnet for tourists, like London, NYC, etc. The US college town I'm from does not get a ton of tourists aside from visiting high schoolers and their parents. We do have a great local record shop with a wood floor, posters all over the walls, and a proprietor who is an old hippy dude that loves to tell the story of him and his buddies trying to get to Woodstock but their van broke down somewhere in rural Pennsylvania and they had to ditch all their weed when the State Police came around to help them get a tow. It's one of my favorite places on God's green earth.
I don't buy a lot from Discogs, but I am often wary of the NM or VG+ grade when I can't see it. Subjectivity goes out the window when somebody decides that for you, especially when it's paid for without being seen. As we have discussed before - a decent cleaning system and routine can bring records to life and make some decent/conservatively graded VG/VG+ albums virtually dead quiet or NM.
But I never buy a record with visible marks beyond the obvious light inner scuff. I've passed on a few rare funk & soul albums horribly eaten up by DJ scratching & spinbacks. Same with some 70s rock albums that were obviously victims of somebody high on methamphetamines strapping quarters to its shitty tonearm.
As you also rightfully point out, the stylus shouldn't be overlooked (nor cleaning it with a respected cleaner). It is a crucial part of the entire system, and there is no quicker way to destroy it than playing a dirty LP in shite condition. And - research into the type of stylus is equally important. Some are brighter, others are warmer, some are more forgiving (quiet), while others pick everything up (sound in the groove and any potential flaws in the vinyl or dirt). A good example is on my Thorens TD-160. It is a floating platter with a bit of bounce, and it needs a stylus that locks into the groove. For my TT I have found the Ortofon 2M series a brilliant match (I upgraded to a 2M Bronze and can't see myself moving away from it).