From September 24 to 26 – directly in the wake of the Reeperbahn Festival – the latest edition of the industry gathering Making Vinyl Europe took place in Haarlem, the Netherlands. In an interview with MusikWoche, Conference Director Andreas Kohl looks back on the event’s development and outlines future plans, including potential changes to the event’s timing.
Knut Schlinger – December 4, 2025
The team behind the European edition of Making Vinyl (from left): Co-founder Bryan Ekus, Andrej Krause (Studio Krause), Conference Director Andreas Kohl, and Ruben Planting (Program Assistant Manager). Photo: Making Vinyl
Article courtesy of MusikWoche. German Version Click Here
“We are completely satisfied with this year’s edition of Making Vinyl,” reports Andreas Kohl. “For me personally, it was the best Making Vinyl so far.” According to Kohl, the team around Making Vinyl founder Bryan Ekus – together with newly appointed Program Assistant Manager Ruben Planting, the agency Studio Krause, and Kohl himself – has “grown very close by now.”
Attendance figures also reflected this success: “We were able to increase visitor numbers once again and, with 350 guests from all areas of the vinyl industry, achieved our best result to date.”
The conference has meanwhile broadened its thematic scope significantly and is no longer focused almost exclusively on record manufacturing. Instead, it now addresses all parts of the supply chain. “Labels, artists, agencies, journalists, and the hi-fi scene,” Kohl lists. “A new strategic partnership with the High End Society – which organizes the massive High End audio trade show, formerly in Munich and now in Vienna – has created entirely new and exciting synergies.”
Looking back, Kohl also highlights the introduction of workshops alongside panels and presentations as a major positive development. These workshops allowed participants to address issues “in very focused small groups,” such as evaluating test pressings or mastering for vinyl. “These workshops were a complete success and were especially mentioned by our attendees afterward. Two documents emerged from the workshops, for example, which are now being made available to the entire industry as quasi-standardized recommendations.”
Kohl also views the second Making Vinyl Sustainability Summit as a success. This year, participants went “much deeper,” conveying expert knowledge about the PVC production chain in general and also taking clear positions on issues such as ISCC certification and the urgently needed life-cycle assessments of vinyl products.
He points to “tangible results and successes,” including the first life-cycle assessment study published by manufacturer GZ, as well as a new analysis of the CO₂ emissions of a vinyl record. According to Kohl, this was developed “by a working group led by the Vinyl Alliance and the Music Climate Pact, involving not only manufacturers but also distributors and labels.” He adds: “Our idea of creating space and opportunity for interdisciplinary collaboration fully paid off – in Haarlem, the entire industry sat at the table together with representatives from NGOs. A lot is really happening.”
On a personal note, Kohl is also pleased that “we made a major step forward in terms of diversity and gender parity.” He explains: “We’re not yet where I would like to be – ideally at least a balanced ratio of female- and male-presenting panelists – but this year there were significantly more women at our event than ever before.”
Naturally, Making Vinyl will return in both the U.S. and Europe in 2026, Kohl emphasizes, noting that the team already has a preferred location: “Our team around Bryan Ekus, Ruben Planting, Studio Krause, and myself is currently discussing whether we will return to Haarlem once again. The city offers clear advantages, and in combination with the Haarlem Vinyl Festival it simply works very well – almost an entire week dedicated to vinyl.”
However, the timing of the event may change: “At the moment, it looks very likely that we will move the conference one week later, to early October. The Haarlem Vinyl Festival is also planning to shift back by a week. The dates in the past two years were very close to the Reeperbahn Festival, and we understand how difficult it is for industry professionals and fans to attend such events on two consecutive weeks.” His goal: “With a slightly later date that still falls before the autumn school holidays, we may be able to attract even more visitors.”
In terms of content, the 2026 conference will build on the interests and trends identified in 2025. “More workshops, more focus on real-world problems that require collaboration and that are addressed with a clear goal or desired outcome,” Kohl summarizes. “The High End Society will be even more present in 2026, with its own exhibition space focusing on playback equipment, hardware, and the wider hi-fi scene.”
There will also be personnel additions. “Personally, I’m delighted that we’ve been able to bring on board the young opinion leader Bridger Ryland from London as a new team member,” says Kohl. Together with Ryland, the team aims to develop a serious offering for young people, particularly those currently in training or considering entering the industry. Planned collaborations include the Abbey Road Institute, SAE, and universities, “to specifically invite young students to Making Vinyl and connect them with the industry,” Kohl explains. “Their input is extremely important to us, and we urgently need to take action to overcome the sometimes alarming shortage of skilled professionals in our sector.”
Finally, Kohl calls on everyone who has “anything to do with vinyl” to attend Making Vinyl: “We welcome input from all areas. In the past, I often received feedback that Making Vinyl was only about presses, plastic, and cardboard. Breaking that perception was my top priority when I joined the team.” With the participation of labels such as Warp, Ninja Tune, Clouds Hill, Domino, Beggars, PIAS, Cargo, Nuclear Blast, and the major labels, much was already achieved in 2025 – but, as Kohl concludes: “There is still more to come.”
