Why the nation’s oldest vinyl record maker is thriving

United Record Pressing has had to retrofit some of its equipment to keep up with demand for vinyl.

During the six decades since United Record Pressing stamped out the Beatles’ first U.S. single, the country’s oldest vinyl record maker has survived 8-tracks, cassettes, CDs, Napster, iPods and streaming services. Now, the Nashville-based company has rebounded so dramatically that some of its equipment and technology has been retrofitted to keep pace with an ever-growing demand for old-school vinyl.

The 75-year-old company has adjusted its business from filling jukeboxes to helping DJs spin and stocking shelves despite a pandemic. On shelves in its warehouse are master versions by Johnny Cash, Kanye West and The Black Crowes.

When Mark Michaels bought the company in 2007, vinyl was fading—its 38 employees mostly made singles for rap artists, often promos for clubs. Michaels wanted a hands-on chance to build a business and thought he could keep this one steady, but not grow it substantially. It also came with a rich history as the first record pressing plant in the South, including an apartment atop the factory that housed Black artists and music executives during segregation.

“You walked into this building and you just felt 50, 60 years of history and just the importance of what it stood for,” said Michaels, the company’s CEO and chair. “And yeah, you you get choked up, you get gooseflesh just experiencing that.”

Today, United Record Pressing runs a newer factory six times bigger than what Michaels bought, with about 125 employees who make up to 80,000 records a day.

A variety of factors have boosted vinyl in recent years, from independent artists insisting on vinyl albums to big box retailers getting on board again.

In 2023, U.S. revenues from vinyl records grew 10% to $1.4 billion, the 17th-straight year of growth, according to the Recording Industry Association of America. Records accounted for 71% of revenues from non-digital music formats, and for the second time since 1987, vinyl outpaced CDs in total sold.

United Record Pressing underwent its own evolution. The initial pressing plant was formed in 1949 by Nashville label Bullet Records. In the 1950s, it changed to Southern Plastics Inc. and focused on 7-inch singles preferred by jukebox makers.

In the early 1960s, the company was pressing more than 1 million records per month. It signed a deal to produce singles for Motown Records and moved to a bigger facility that included the apartment that hosted The Supremes, Smokey Robinson and others—and which became known as the “Motown Suite.” In 1963, it pressed the Beatles’ first U.S. single, “Please Please Me.” Then in the 1970s, a restructuring turned the company into United Record Pressing.

During the 1980s, records dwindled to a niche market. DJs still needed records for their turntables. Rap and hip-hop artists used them for “scratching.” But CDs had overtaken them.

By the late 2000s, indie artists were insisting on releasing vinyl records. By 2015, records were broadly embraced again, but there were few manufacturers, and they were relying on presses from the 1960s and 1970s and a limited number of specialists who could operate them, Michaels said. Demand increased again during the coronavirus pandemic.

“It’s art,” Michaels said of vinyl records. “Artists and fans, they want something tactile to hold on to and engage with. It’s easy to stream music, and streaming music is a wonderful way to discover new music. But you know, at the end of the day, it’s kind of sonic wallpaper.”

Today, the factory mixes old and new.

There’s plenty of wood paneling on the throwback audio equipment used to test master versions of records before they are used to press copies. And the factory floor has its share of retrofitted pressing equipment that looks and sounds like it’s been around since the last time vinyl ruled the market.

Technology is improving the process, too. Beyond the older presses are sleek, newly made machines that plop out records more quietly and efficiently. And there are huge sacks of colorful pebbles from discarded material that can be pressed again into new records.

The machines that stamp master copies use technology that had been in place to produce CDs and DVDs, now retooled for vinyl.

In a room farther back in the factory, the whizzing of machinery gives way to music.

That’s where Tyler Bryant might listen to 10 records in a shift as the company’s quality control lead. Talking over the rhythms of harmonica from a Cash album, Bryant said he discovers many artists and records that wouldn’t be on his list, ranging from Harry Styles to Beyoncé’s “Cowboy Carter” to indie artists.

“A lot of variety, that’s what I appreciate,” Bryant said. “I don’t like being stuck to just one genre, you know?”

A few miles away, architects and a construction crew are at work to preserve the old 1962 plant and pave the way for its future. As for what that will look like, Michaels says stay tuned.

“My vision is not completely crystallized yet, but the mandate is, it’s some of the most important space in all of music,” Michaels said. “It needs to be celebrated. It needs to be something that people can engage with.”