“From Basement CDs to Hand‑Cut Jungle An Interview with Minnesota’s DIY F.P. Recordings”

How long have you been doing this?

Jake: I have been cutting records in some form for around 7-8 years now and have been accepting custom orders for the last 2 years.

Tell us about your label?

Jake: I started F.P. Recordings in my parent’s basement back in 2009 just putting out CDs. Now I would say the focus of my label is a more niche sound of 91-93 style hardcore and jungle.

Not the popular tunes of that time but the obscure cooked white labels that weren’t always the tightest or in abidance with music theory. Secret House Records is a sub-label of FPR reserved for more experimental, Techno, and House.

What are your biggest sellers right now?

Jake: I would say Crusty Feeling / Diamonds by Johnny Too Bad has been the biggest seller. F.T.C Project’s EP has also done well.

Side A: Crusty Feelin by Johnny Too Bad

Side B: Diamonds by Johnny Too Bad

I Know The Score from The Convergence EP by F.T.C Project

What types of genres are you seeing most often using your services?

Jake: I have primarily been cutting hardcore, jungle and similar styles but have had a few outliers.

How did you learn to cut records?

Jake: I had to learn everything on my own from watching videos on different lathes, both amateur and professional, and scouring through the Lathe Troll’s forum.

How many people does it take to run this type of business, or are you handling everything yourself?

Jake: Me, myself, and I.

When would you say the resurgence of old-school audio formats like cassette tapes and vinyl really started coming back?

Jake: I think it’s had ups and downs, but I can’t say for sure as I have used physical formats my whole life. I think they are becoming more relevant now as people are starting to get sick of not actually owning anything when they use streaming and such.

Lathe-cut recording process

Are you seeing real differences in your business because of these trends? If so, how?

Jake: Yes lathe cuts seem very desirable right now and I wouldn’t be surprised if diamond cut PETG was the future of records. The reason is that most people who want their music on record can’t afford to get a vinyl pressing and/or don’t have the demand to meet the often 300x minimum order.

In today’s economy, especially with tariffs, how hard is it to manage material costs and keep the business alive?

Jake: If I had to import any materials it simply wouldn’t be feasible. This is why I have been limited to embossing polycarbonate up until now. My supplier is based in Arizona and he recently began supplying PETG blanks and diamond styli which previously were only available in Europe.

Shout out to Mike at recordlatheparts.com.

What are the main pieces of equipment that constantly need repair or replacement?

Jake: The only thing that needs replacing is the cutting stylus. I can’t say exactly how many cuts I get out of one but it’s enough to not have to keep track.

Eventually the records will come out sounding like trash and that is when a replacement is needed.

What mistakes do first-timers usually make when prepping audio for lathe cuts?

Jake: The two main issues is too much stereo width in the mid to low end (causes skipping) and unchecked sibilance frequencies around 2, 5, and 8kHz (causes hissing).

What other services do you offer that people should know about?

Jake: Upon request I do offer cassette duplication and vinyl mastering.