I would also Mark. I buy quite a bit of vinyl. There are those that talk about hiss and pops, etc., but they are "doing it wrong". Regardless, it will be more a labor of love and a more permanent and expressive final product on vinyl. There's been some written on this in the Andrew York thread. Also, regarding the labor of love aspect of the vinyl creation, if your interested, track down some of what Jerome Sabbagh has said about his album The Turn. Here's a snippet from a recent interview in SP from Sabbagh. Hope this offers some perspective for you (note both Sabbagh and York used Kickstarter for the vinyl)
Pressing vinyl is a hard nut to crack for most jazz musicians. But lured by Doug Sax's offer and his innate sense that The Turn would benefit from a vinyl edition, Sabbagh started a funding campaign and went all in.
"I pressed to vinyl because if done well it always sound better," Sabbagh acknowledges. "And Doug Sax wanted to master it to vinyl. That meant a lot to me. I love the records he worked on like Way Out West and some '70s orchestral recordings. Given that we were pressing from tape and Doug was involved I thought it would be worth it.
"We originally recorded the album live to tape and two-track at Sear Sound with engineer James Farber," he continues. "Because I was on a budget, we went to tape but backed it up with high-rez digital. Had I known I was going to press vinyl I would have gone analog all-the-way. So, a year later, the record is out, I started a Kickstarter campaign, and offered some free tracks, posted tracks and reviews. It's easier to ask people to fund something that already exists, as did the CD. I was asking for money specifically to press to vinyl. I ultimately raised 10k, which I used for overall vinyl costs. Vinyl mastering cost roughly $2000 for 4 sides; pressing double LP vinyl at Quality Record Pressings was about $5000; printing the covers was another $1000; then the labels, and shipping." ... "This was a labor of love," Sabbagh states. "I wouldn't advise anyone to do this unless they are willing to get really involved...But I don't think it would have been successful if I hadn't been as careful as I was all the way. From using engineer James Farber to Doug Sax for mastering. With vinyl so many things can go wrong so you really have to be careful, and do the QC yourself and chase down every click and pop on the test pressings. You can't outsource that to anyone. But ultimately I knew this would sound really good on vinyl."