Two copies of the same album can be worth very different money, and almost none of the difference is the music.
What you are actually pricing
- Which pressing
- What the disc grades
- What the sleeve grades
- What is present besides the record
Change any one of those and you have a different item. Pricing from the title alone is the common way to leave money on the table — and the common way to disappoint a buyer who thought they were bidding on something else.
Where to start
Common pressings in played condition: start low, run them quickly, let the room price them. This is also how you build an audience that comes back.
Scarce pressings or near-mint discs: a low start is a real risk on a quiet night. Use a reserve.
Lots
A box of common records is a lot. Count them, say the condition range honestly, and state plainly what is not guaranteed. The scarce one comes out of the box and runs on its own.
Pacing
Records need the tilt, the label and the run-out on camera — that is maybe forty seconds each. Build the show around that rather than fighting it.
Questions people ask
Should I grade before I set a price?
Always. The grade is most of the price, and setting a price first tempts you to grade to fit it.
What if I do not know the pressing?
Start lower, show the label and run-out clearly, and say you are unsure. The room often knows and the bidding will tell you.
Do sleeves have value on their own?
Sometimes, for scarce artwork. Sell it as a sleeve, clearly, not as a record.