A few things that require attention for what I do (in case anyone is interested!) - 1. I've cut a pile of different stuff - generally a good mix/master is a piece of cake to cut across all genres. I cut between 1-100 copies for clients directly to vinyl - and my objective objective is to get the vinyl cut to sound as close to the digital master as I can get it. I lathe-cut vinyl pretty much all day - my thing is a little different than the true mastering professionals commenting above. There's a couple lacquer cutters that usually cut the stuff I master and it always comes back sounding great but when clients send direct to the plant, often time it comes back fairly mediocre. The other benefit to this is you can usually get a reference lacquer or at least a digital transfer of a test lacquer to approve before they move on to the expensive and time consuming stuff. letting the pressing plant handle it or farm it out to whoever can squeeze it in. I usually encourage clients to use a lacquer cutter that they can choose vs.
A PDF file accompanies each WAV for each side so the cutter knows where songs start and end and other details. Once the digital master is approved (usually via DDP), I'll make the vinyl pre-master at 24-bit/native sample rate (usually 96k or 88.2k) as one file per side of the record so the spacing between songs is locked in.
The only differences are things that specifically make the audio more vinyl friendly. This way the spacing between songs and general sound matches the digital master(s). Then off to pressing, plated and pressed.My process is essentially the same. Then to the cutter where the actual vinyl master, lacquer, is made from the premaster file. This is generally more dynamic (no limiting) and suited to vinyl needs (no Esss, centered lows, not too much top end, etc).
On approval, a vinyl premaster set of files is done.