Music Biz Chat: Inside the Real State of CDs & Vinyl
An exclusive interview with Karen Emanuel OBE, CEO of Key Production
If you follow Now Spinning Magazine, you’ll know that I often reference the headline figures published by Music Week and the British Phonographic Industry — vinyl up, CDs supposedly down, streaming dominant.
But numbers on a page don’t always tell the full story.
For this episode of Music Biz Chat, I wanted to go right inside the industry — to the point where CDs and vinyl records are actually made. And there is nobody better placed to talk about the real health of physical music than Karen Emanuel OBE, CEO of Key Production, one of the UK’s most important manufacturers of CDs, vinyl and premium physical formats.
This is not guesswork. This is not theory.
This is what labels, artists and independent creators are actually ordering.
“The Physical Market Is Very Healthy”
From the outset, Karen was clear: the physical market is far healthier than many headlines suggest.
Key Production works with pressing plants and manufacturers across the world, and right now those factories are busy. In some cases, turnaround times are stretching again — not at crisis levels, but certainly enough to show sustained demand. Projects are being scheduled months in advance, something that simply wouldn’t happen in a “dying” market.
For collectors, that’s a reassuring signal: physical music is not slowing down — it’s evolving.
CDs Are Not Dead (No Matter How Often They’re Declared So)
One of the most important parts of our conversation focused on CDs — a format that is repeatedly described as being in terminal decline.
From Karen’s perspective at Key Production, that narrative simply doesn’t match reality.
CD demand remains strong, particularly outside traditional chart-return retail data. Sales at gigs, direct-to-fan channels, independent releases and international orders don’t always show up in the headline stats. And crucially, younger listeners are beginning to embrace CDs again.
Why?
- They’re affordable
- They sound great
- They’re tangible
- They offer a screen-free way to engage with music
Karen also shared fascinating insights about Generation Alpha, with parents actively encouraging physical formats as a way to move children away from constant screen time. For many, CDs are becoming the gateway into collecting.
As I often say: this isn’t a battle between formats. Vinyl and CD are part of the same physical ecosystem — and many fans happily buy both.
Vinyl: Growth, But With Nuance
Yes, vinyl continues to grow — but Karen offered a far more nuanced picture than the usual “vinyl boom” headlines.
At the top end, some clients are increasing pressing quantities. At the grassroots and lower-volume end, others are finding it harder to justify runs they once could. This suggests a market that’s maturing rather than overheating — stabilised, but still expanding.
Importantly, the appetite for specialist vinyl is stronger than ever: audiophile pressings, genre-specific releases, and carefully curated editions continue to sell through when done right.
Deluxe Editions, Box Sets & Design-Led Innovation
For serious collectors, this was a particularly exciting part of the conversation.
Karen confirmed that demand for:
- Deluxe box sets
- Premium CD packaging
- Book-style editions
- Bespoke finishes
…is not only strong, but growing.
Key Production is actively developing new approaches to premium packaging — innovations that balance beauty, sustainability and practicality. While not everything can be revealed yet, it’s clear that physical music design is entering another creative phase.
This tactile, visual, shelf-worthy experience is exactly what streaming can’t offer — and exactly why collectors keep coming back.
Sustainability, Innovation & The Future
We also explored where physical formats are heading technically and ethically.
Karen highlighted:
- Bio-vinyl and non-fossil fuel PVC
- Energy-efficient manufacturing methods
- Injection moulding innovations
- NFC technology embedded into physical releases
These developments show that physical music isn’t stuck in the past — it’s adapting, responsibly, while retaining its emotional and artistic value.
Why Physical Music Still Matters
One of the strongest themes running through this conversation was connection.
Physical music creates a direct bridge between artist and listener. Credits matter. Packaging matters. Albums matter. Listening from start to finish matters.
Streaming has its place — just like radio always did — but ownership, immersion and intention still live in the physical world.
As Karen so perfectly summed up: once people become collectors, they tend to stay collectors. And with new generations joining in, the future looks far more sustainable than many assume.
This conversation went far beyond statistics.
It confirmed what many of us already feel instinctively:
Physical music isn’t going anywhere — it’s quietly, confidently building its next chapter.
Huge thanks to Karen Emanuel OBE for such openness and insight, and for giving Now Spinning Magazine access to the real story behind the numbers.
In the interview Karen mentioned ‘Tiny Vinyl and NFC’s if you are not sure about these terms here is an explanation.
1) “Tiny Vinyl”
This is exactly what it sounds like: miniature playable records, typically 3-inch or 4-inch vinyl singles.
They’ve quietly become a trend in the last few years — especially for collectors and younger fans entering physical media for the first time.
What they are
A scaled-down vinyl record (usually plays at 33⅓ or 45 rpm)
Often sold as a collectible rather than a primary listening format
Sometimes comes with download codes or digital access
Requires an adapter or specific turntable spindle
Why labels like them
Karen’s point here is economic + behavioural:
They lower the barrier to entry into physical media.
A teenager probably won’t buy a £35 double LP…
…but they will buy a £8-£12 cool object tied to a band they love.
So “tiny vinyl” works as:
merch
collectible
gateway to vinyl culture
chart-eligible physical product
You’ll see them used for:
Record Store Day
fanclub exclusives
tour merchandise
pop & K-pop especially
indie labels testing physical demand before pressing full LPs
In other words — physical media as a cultural token, not just an audio carrier.
And that fits perfectly with what you often say on Now Spinning:
People buy connection first, audio format second.
2) NFC (Near Field Communication) in Records
This is the really interesting one — and very much where the industry is heading.
NFC is the same technology used in:
contactless payments
Apple Pay
tapping a phone on a poster for info
Now it’s being embedded into vinyl sleeves, CDs, and packaging.
How it works
You tap your phone on the album sleeve → it triggers digital content instantly.
No QR code scanning
No typing a URL
Just tap the record
What it can unlock
Labels can attach:
hi-res downloads
Atmos mixes
bonus tracks
live recordings
documentary video
ticket presales
fan club access
authenticity verification (anti-bootleg)
evolving content after purchase
So your physical copy becomes a living object.
Why this matters (the big picture)
Karen was essentially describing the next phase of physical media:
Not
Physical vs Digital
But
Physical + Digital combined into one experience
Tiny vinyl = emotional entry point
A tactile collectible that brings people into ownership.
NFC = ongoing relationship
Turns the record into a platform, not a one-time purchase.
Why the industry loves this
From a label perspective:
| Old Model | New Model |
|---|---|
| Sell album once | Sell experience |
| Static product | Updating product |
| Audio only | Multimedia |
| Competes with streaming | Complements streaming |
This is also why CDs aren’t actually dying — they’re evolving into premium artefacts rather than disposable carriers.
Phil Aston | Now Spinning Magazine
