Category Archives: Record Labels

Timeline For Promoting A UK Single Release, A Radar Rough Guide

Buzzsonic_Vinyl_distributio

By Caroline Bottomley, Radar Music Videos.

A lot of promo people we talk to say artists and managers often don’t know what professionals do to promote single releases.

So we asked for help from some real professionals (see credits below).
Then we made up an indie band with an established following and a few previous releases. We made up £5,000 to spend.
Then we wrote this rough guide – enjoy and feel free to add your own tips. 

14 WEEKS OUT FROM RELEASE

* Commission single artwork, even if it’s for download only. Designer £300
* Commission artist photos. Photographer £500

TIP: “Commission nice/weird/cool COLOUR band photos, the brighter the better” David Laurie SiC Records
Start social media engagement. Digital Promotions £500 – £1,000

NOTE: Social media work continues from here up to and after release date.

12 WEEKS OUT FROM RELEASE

* Engage PR £500 – £1,500
* Release advance copies/links to share to monthly press, for review, eg Q, Mojo, Clash, Uncut.

Start with sending out a simple press release announcing the single and put the single into context, eg from an album or a stand-alone track? Will there be associated shows? PR TIP: There are very few print outlets for singles, a couple of dozen really. It’s ALL about online for singles. David Laurie, SiC Records.

NOTE: Press work continues from this point up to and after release date

TIP: “The press release needs to be straightforward and attention-grabbing “artist releases great new song/album” just isn’t enough. What’s your story? What’s special about you/the song/album and why?” Gillian, Million PR and Naked Press.

* Engage Agent 10% of gross
* Engage Radio & Video Plugger £500-£1,500

NOTE: “I would separate Radio & TV costs. Radio Promotions £1000-2000 and TV Plugger £500-1000 per release. They might be able to get it for less, but this is much more realistic of the going rates.” Prudence, Rocket PR

* Commission the official music video, the aim is to create a stand-out, remarkable video. Producer/director (Radar) £2,000

TIP: “The video must be one that compels you to hit SHARE at the end, that is the idea. Not the new Bammers video but the video where the guy turns into a monkey and eats the aeroplane” David Laurie, SiC Records
TIP: “Commission the video now so it can be ready to service at least 6 weeks before release” Prudence, Rocket PR
TIP: “All video people take longer than they say to deliver, so I give at least 2 weeks ahead of my deadline as the actual deadline” David Laurie, SiC Records.

* Create a lyric or packshot video, the point is have this video on the band’s YouTube channel when radio play begins ahead of release date, capturing early views and interest. Producer/director (Radar) or Digital Promotions £0 – £200

8 WEEKS OUT FROM RELEASE

* Track/remix completed.
* Book banner/Facebook/Google advertising. Digital Promotions £500
* Advance copies/links to share released to weekly and daily press, for review. PR
* Release show/s booked. Agent
* Radio promotion begins. Single and album promos are presented to radio producers and presenters with a press release and list of forthcoming live dates. Plugger

TIP: “Almost none of them (radio producers and presenters) listen to albums or anything after the first track on a single promo unless there is some headspinning remix” David Laurie, SiC Records
* Build up support through plays on individual radio shows, working towards playlist consideration. Plugger
* Social media begins to focus on the release campaign. Digital Promotions
* Digital store promotions set up. Digital Promotions

4 – 6 WEEKS OUT FROM RELEASE

* Service video to TV for playlist rotation consideration. Plugger
* Radio playlist consideration. Plugger
* Digital store promotions set up once you have provable ammo from press. Digital Promotions
* Soundcloud stream premiere on a top site followed a day or two later with a blast out to other sites for more embedding, start adding up those NUMBERS to convince radio you are POPULAR. PR

2 WEEKS OUT FROM RELEASE

Securing Music Press

* Secure a video exclusive with a popular music site and general coverage in music media. PR
TIP: “Securing exclusives is PAINFUL and you have to (more or less) only ask one at a time – Pitchfork; Fader; Guardian; Stereogum in that order.

Each one takes at least 24 hrs to get back even if you have a shit hot PR, so running through those top four will take a week and likely they will all pass” David Laurie, SiC Records

* Fan special offers; exclusive tracks, early order discounting etc. Digital Promotions

RELEASE WEEK

* Digital store promotion. Digital Promotions
* Music media coverage. PR
* Paid advertising live. Digital Promotions
* TV rotation. Plugger
* Radio sessions and interviews. Plugger
* Release show. Agent

POST LAUNCH

Post-Launch Promo

* Follow up press campaign to generate further press coverage. PR
* Album and tour news to be associated throughout if appropriate.

NOTE: “It might be an idea to mention that there will be VAT on top of all costs as this seems to come as a surprise to many unsigned acts as they are most likely not VAT registered themselves.” Prudence, Rocket PR

Companies providing these promotion services can be found in Radar’s resources.

This rough guide has been complied with the help of David Laurie at  Something in Construction Records (SiC); Gillian at Million PR & Naked Press**; David Riley at Good Lizard Media**; Prudence at Rocket PR and Caroline Bottomley of Radar Music Videos.

** Willing to advise new artists and labels about promotion strategies.

PS: An important note about paying for services. It’s possible to do just about all these things for free. You do it yourself, get friends to do it, pull in favours. The reason these services are worth paying for is good professionals will do a much quicker and more effective job.

More to the point, people will actually listen to stuff from reputable PRs; press and pluggers are personally connected to press and playlisters; promotions people know which advertising is cost-effective; experienced directors make attractive music videos that get featured on blogs. All that should result in more sales of your single and more tickets sold to your gigs.

Special Thanks to Caroline at Radar Music Video.

This post originally appeared on Bzzzsocial.com

The How, Why & Where To Press Up A Vinyl Record

This is a much needed update of a post that first appeared in Buzzsonic way back in March of 2008!

I’ve updated the links and information  to bring things bang up to date. I thought it was worth reviving, simply because there is a massive renaissance in interest (and sales) in vinyl records, a format virtually killed off by major record labels in their crude attempts to get us to buy everything again on CD.

“Vinyl sales are at their highest level for 15 years, according to figures from the British Phonographic Industry (BPI) and the Official Charts Company.
Just over 780,000 vinyl albums were sold in 2013 – the largest number since 817,000 were sold in 1997. The 2013 figure also constitutes a 101 per cent rise on 2012 sales.” (The Telegraph)

Now that we’re swamped by a billion and one MP3 downloads from a bazillion bands, there’s a absence of scarcity, fans with musical ADD and bands are having to get increasingly creative to even get five minutes of attention (let alone that Warholian 15!).

MP3 Marketing Tips, Press Vinyl Records

 

The Ease of Digital Distribution

OK then, its nothing short of amazing that today, theoretically you can easily have your music on sale, Worldwide in the biggest music retail store on the planet. Without a tour, without a manager and even without a record deal. You can be based in Brighton, UK  and someone in Alaska or Australia or Russia (or wherever) can download your music without leaving the house. You don’t have to leave the house to get it on sale either.

Also, if you signed up with a good distributor, you could be keeping around 80% of the retail price too (assuming you’re working as an independent). Compare that to the old school record label deal where you’d be lucky to get 15%.

99th floor elevators 12 inch

99th Floor Elevators

I must admit, when I first saw my music on sale on the iTunes store it was exciting, as it was another ‘career landmark’ for me, but as music career landmarks went it really was no comparison to the day I walked into the Virgin Megastore (RIP) on Oxford Street, London, the day of its release in 1996 when the original version of the 99th Floor Elevators ‘I’ll Be There‘, went on sale.

There it was, prominently displayed in a rack with all the other big 12 inch releases of the week and there it was in the big HMV just up the road too. More importantly to me, there it was in stock and in the top 10 buzz chart in Trax Records in Soho, ten minutes walk away from the hustle of the London’s West End. A few days later ‘I’ll Be There’ had gatecrashed the national UK pop and dance charts.

I used to spend a lot of money in dance music specialist Trax Records back in the days in the late 80s when I had to travel 160 miles by coach from my home in South Yorkshire to seek out those elusive Euro imports and Belgian New Beat gems that only Trax had.

Making A Difference

And that is the point of this article. In a world where you don’t even have to leave the house to get the latest 12 inch remix or latest indie release or even pay for music anymore, how do you as an artist make a difference when everybody is a digital record label and everybody can sit next to Elton John and the Beatles on the virtual record shelf?

“It’s been well documented in recent years that vinyl sales are on the rise, but who is buying the shiny black discs, and can the antiquated format really be sustained in a digital world?” ‘Why Wont Vinyl Die?’ (Sabotage Times)

The New Vinyl Phenomenon

If you’ve more than a just passing interest in the state of the music industry you may have noticed a recent surge of interest and press on the apparent vinyl revival.

“This year’s Record Store Day was the UK’s biggest yet, racking up 30% more album sales than during 2013’s event. 245 British shops participated in the sales bonanza on 19 April, which saw particularly good results for the Pixies, David Bowie and Tame Impala” (The Guardian)

Pie And Vinyl Documentary

So, there’s no vinyl pressing plants left anyway right? Very wrong. There’s a handful of pressing plants across the USA, UK and Europe, manufacturers in Australia, Japan and Russia and others dotted around the rest of the world.

“While sales only account for a small percentage of the overall market, vinyl sales are growing fast as a new generation discovers the magic of 12 inch artwork, liner notes and the unique sound of analogue records, often accompanied by a download code for mp3s.” (Daily Mail Oct 2013)  

Pressing up a release on vinyl is undoubtedly more expensive than CD but as a limited run single or album its more of an event and even a great PR exercise. Kickstarter and other crowdfunding outlets have also proved to an invaluable source of funding for hard up bands planning deluxe vinyl pressing runs.

“On a day-to-day basis, Music Review receives 10 – 30 digital download codes/links a day. That’s in the region of 300 – 900 albums a month. That’s too much music for our small team to meaningfully listen to. With the advent of technology, just about anyone can release an album nowadays, but when it comes to vinyl, the story is very different. Unlike the digital revolution, there are fairly large barriers of entry to get a vinyl pressed, which means that only the most serious and only the most in-demand would consider it as a pursuit.”(MusicReview.co.za)

Sculpting Sound:The Art of Vinyl Mastering

 The Vinyl Pressing Process:From Studio Master to Plastic Disc

Creating a record is a complex process, but essentially breaks down into six separate steps.

1. Mastering: A mastered CD is brought to a vinyl press. Two main changes must occur to begin the process of audio mastering, tonal balancing and level adjustment.

2. Cutting: Once the mastered version is finished, the track will be cut into lacquer. A digitally created track will be converted into an analogue wave for the cutting lathe. Transferred through an amplifier, the wave travels down the arm of a diamond-cutting stylus and onto a rotating lacquer disc.

3. Stampers: The lacquer or vinyl master is delivered to the pressing plant. The plant completes the following steps:

  •  The vinyl master is covered with a thin spray and dipped in a bath of electrolyte. A current is passed through the solution and the silver-sprayed lacquer becomes coated in nickel which creates a negative image of the vinyl.
  •  A second generation negative is created and the nickel plate is peeled from this lacquer to become the stamper. The stamper represents a negative image of one side of the vinyl.
  • Two stampers are needed to press up both an A and B sided record.

4. Test Pressings: With both stampers in place, a “puck” of vinyl is introduced into the press. Two labels are placed above and below the puck and the press is closed. In order to flow seamlessly into the grooves of the stamper, the vinyl is heated up to 200 C.

It is then rapidly cooled so that the vinyl can be immediately lifted out of the press. This whole process takes approximately 25 seconds. Normally, a short pressing of 10 copies is made first. These “test pressings” are sent to the record label for approval.

5. Labels: Many people are under the misconception that a “white label” is much cheaper than producing a professionally designed four-colour label. The real expense, however, comes from having the label incorporated into the vinyl. The colour of the label really makes no difference in this process.

6. Artwork: Image is key in almost every industry, making the music industry no exception. Great consideration should go into the label and its packaging, as well as the marketing accompanying its promotional push.

For a rough guide as to how much music you can fit on a vinyl record Nashville veterans United Record Pressings have a useful FAQ and quick reference.

  • 7″ – 4:30 minutes per side @ 45 rpm; 6:00 minutes per side @ 33 1/3 rpm
  • 10″ – 9:00 minutes per side @ 45 rpm; 12:00 minutes per side @ 33 1/3 rpm
  • 12″ – 12:00 minutes per side @ 45 rpm; 18:00 minutes per side @ 33 1/3 rpm

The Dying Art Of Pressing Vinyl Records

And there’s more record manufacturing tutorials here and here.

Some pressing plants, like United Records Pressings in Nashville are offering vinyl + digital package deals which includes a secure digital music hosting service, custom digital download coupons with unique one-time-use codes, packaged together. With the popularity of new USB turntables kids can plug their vinyl straight into their computer and rip to MP3 anyway.

Jack White’s Third Man Records Tour United Records Pressings Nashville

If you’re looking for a vinyl pressing quote do take into account that there is a huge amount of variables/possibles (quantity, vinyl size, coloured vinyl, artwork) and generally speaking, the more you have pressed the cheaper the amount per unit. Also, if you need a repress then you wont have the expense of having plates to make up. Disc cutting and processing (metalwork) is the biggest single outlay in the whole process.

Also be aware of the difference between an actual vinyl pressing plant and a vinyl broker.

If you know what you’re doing, then dealing directly with the pressing plant of your choice is the way to go. If you’re a complete newbie, then using a third party broker – who may well cost a bit more- but who takes care of every part of the process , including dealing with the pressing plant, makes a lot of sense.

As for vinyl distribution, well for these short runs a band/artist or DJ would be better served selling discs at gigs and via mail order using TopSpin and Bandcamp and using Paypal on their own website. There’s also other mail order options like CDBaby and Hifidelics and mail order behemoth Amazon.

Such is the fragile nature of the vinyl distribution business that many of the once thriving vinyl specialists have disappeared, leaving a narrow selection of niche companies and dance outlets.

If you have a release in Florida you don’t want to be trusting your stock with a distributor thousands of miles away in California. DIY for short runs. Vinyl record mailers you can get here or here in the USA. Here and here in the UK.

“The Nashville-based United Record Pressing will nearly double the volume of records it’s able to create, which it currently does 24 hours a day, six days a week to the tune of 30-40,000 pieces of vinyl per day. The company will bring 16 new presses online, some they had already and some purchased from shuttered competitors, by the end of the year.

The move is illustrates the success of vinyl in recent years — 76.2 million units in overall sales so far this year — which has exploded in the wake of Record Store Day, launched in 2007.” (Billboard May 2014)

If you want to see what your tracks would sound like on vinyl you can get a one off 7″ cut for around $50 from Custom Records (in the US), who’ll even go as far as pressing it in colour vinyl and giving it a picture sleeve for an extra $58. In Europe you can find these ‘lathe cuts’ at Dr Dub in Austria and Dub Studio in Bristol. There are a few more, including legendary lathe cutter Peter King in New Zealand.

Pressing Plants and Vinyl Brokers

With many, many thanks to all at ‘The Secret Society of Lathe Trolls’ which has proven to be an incredible resource for anything to do with vinyl pressings, manufacturing, mastering and anything remotely related!

USA Pressings:

Archer Record Pressing – Detroit, Michigan
Quality Record Pressings – Salina, Kansas
Erika Records – Downey, California
United Record Pressing – Nashville,Tennessee
Morphius – Baltimore, Maryland
Alpha Record Services – Plantation, Florida
RecordPressing.com – San Fransisco, California
Trutone – New Jersey, NJ
Record Tech Inc – Camarillo, California
Bill Smith Custom Records  – El Segundo, California
Musicol Recording – Columbus, Ohio
Furnace MFG – Fairfax, Virginia (Broker)

European Pressings

Phonopress (Italy)
Tail Records – Sweden
DiscWizards – London, UK (Broker)
Vic-Tone Records – Sweden
Key Production – London, UK (Broker)
Curved Pressings – London, UK
Sound Performance – London, UK (Broker)
Phoenix Of Vinyl – London, UK
The Vinyl Factory – London, UK
JTS Studio – London, UK  (Broker)
Vinyl Records – Russia
Magnetic Mastering – France
My45 – Germany
Optimal Media – Germany
Celebrate Records – Germany
Rand Muzik – Germany
Flight 13 Duplication – Germany
MPO – France
Record Industry – Netherlands
Foon Vinyl – Netherlands
GZ Vinyl – Czech Republic

ROTW

Rip-V – Montreal, Canada
Samo Media – Canada (Broker)
Zenith Records – Victoria, Australia
Toyo Kasei – Japan
Tuff Gong – Jamaica
Polysom – Brazil

Related Reading On Vinyl Pressings & the Vinyl Revival

Worldwide Vinyl Pressing Plants (Mono Equipped)
The Truth About Selling Vinyl; Independents React to Amazon’s 745% Rise in Record Sales (TheVinylFactory.com)
Music Industry Survival Guide:Everything You Need to Know About Vinyl (Tunecore) PDF
Vinyl Revival Continues as LP Sales Reach Highest Level In More Than A Decade (BPI)
The Baffling Revival of the Vinyl LP (TheWeek.com)
Vinyl Frontier: The Music-lovers Behind London’s Big Record Revival (London Evening Standard)
The Vinyl Revival:From The Frontline (Clash Music)
75 Percent of Topspin’s Sales Are Physical (DigitalMusicNews)
The Secret Society of Lathe Trolls (Lathe Trolls Forum)
The Rebirth of Cool: The Turntable Strikes Back (DigitalTrends.com)
Your New Favourite Record Company. How Kickstarter is Igniting the Vinyl Revival (Shiny Shiny)
How to Reissue a Record (Classic Records)

How to Press Up a Vinyl Record and add Instant Kudos to Your Music

This is a repost from a Buzzsonic post four years ago incredibly, all I’ve done is update the dead links and its all still of relevance, probably even more so now as the vinyl resurgence continues and with it being Record Store Day this weekend. UK and USA.
There’s a more indepth update due later this month.

OK then, its nothing short of amazing that today, theoretically you can have your music on sale, worldwide in one of the biggest music retailers stores on the planet. Without a tour, without a manager and even without a record deal. You can be based in Brighton, UK (for instance) and someone in Alaska or Australia or Russia or wherever can download your music without leaving the house. You don’t have to leave the house to get it on sale either.

Also, if you signed up with a good distributor, you’ll be keeping around 75% of the retail price too.

I must admit, when I first saw my music on sale on the iTunes store it was exciting, as it was another ‘career landmark’ for me. Still, as music career landmarks go it really was no comparison to the day I walked into the Virgin megastore on Oxford Street, London, the day of its original release in 1996 when the original version of the 99th Floor Elevators ‘I’ll Be There’, went on sale.

There it was, prominently displayed in a rack with all the other big 12 inch releases of the week. And there it was in the big HMV just up the road too. More importantly to me, there it was in stock and in the top 10 buzz chart in Trax Records in Soho, ten minutes walk away from the glare of the west end. A few days later ‘I’ll Be There’ had gatecrashed the national pop charts.

I used to spend a lot of money in dance music specialist Trax back in the days in the late 80s when I had to travel 160 miles by coach from my home in South Yorkshire to seek out those elusive Euro imports and Belgian New Beat gems that only Trax had.

And there is the point of this article. In a world where you don’t even have to leave the house to get the latest 12 inch remix or latest indie release or even pay for music anymore, how do you as an artist make a difference when everybody is a digital record label and everybody can sit next to Elton on the virtual record shelf?

“Further hinting at physical music format’s dismal future, a new study shows 48 percent of U.S. teens did not buy a single CD last year. This means not ‘Graduation’, not ‘Kala’ and not even anything from that Soulja Boy guy. It means literally not a single one.” Brock Thiessen from the Exclaim.ca article, ‘Teens Not Buying CDs Anymore?’

“I think the time is not too far off where some releases come out on vinyl and MP3 only — no CD. But who knows.” Josh Maddel, Other Music on Wired.com, Jan 2007

If you’ve more than a just passing interest in the state of the music industry you may have noticed a recent surge of interest and press on the apparent vinyl revival. Recently a representative from Sony BMG, mentioned that his parent company is working on releasing its entire back catalog on vinyl. Even Warners interest in the format has been revived.

“It’s not a significant part of our business, but there is enough there for me to take someone and have half their time devoted to making vinyl a real business,” says John Esposito, president and CEO of WEA Corp., the U.S. distribution company of Warner Music Group, which posted a 30% increase in LP sales last year.


So, there’s no vinyl pressing plants left anyway right? Very wrong. There’s a handful of pressing plants across the USA, UK, Europe and even two active manufacturers in Australia.

“One thing we took away from the talk that I feel is pretty important is pressing size. Some efforts are getting to the point where the records aren’t going to hit store shelves anymore. We‘re past the point where it can be difficult to move 300 copies. You folks making vinyl should strongly consider even a slight increase in the number of copies made available. The demand is there as well as the infrastructure to handle it. In addition, increasing the number of available copies should do well to keep the eBayers off for a while. If you can do 300 copies, you might as well do 500. If you know you can sell 500, it’s very likely you can sell 1000. ” Tonys Tales of Texas BB discuss the Vinyl Revival panel at SXSW.

Pressing up a release on vinyl is undoubtedly more expensive than CD but as a limited run single or album its more of an event and even a great PR exercise. Safely Meeting Record label boss Carlos Wells sums it up best here. ” The vinyl, it’s more of an event. If you throw on a CD, you can almost toss it in from across the room. A record, by contrast, is a process.  In 20 or 25 minutes you’re going to have to go over, take the arm off, flip it over. You wind up paying more attention.”

Creating a record is a complex process, but essentially breaks down into six separate steps.

Taken from the (now defunct) Quick Press website.

1. Mastering: A mastered DAT or CD is brought to a vinyl press. Two main changes must occur to begin the process of audio mastering, tonal balancing and level adjustment.

2. Cutting: Once the mastered version is finished, the track will be cut into lacquer. A digitally created track will be converted into an analogue wave for the cutting lathe. Transferred through an amplifier, the wave travels down the arm of a diamond-cutting stylus and onto a rotating lacquer disc.

3. Stampers: The lacquer or vinyl master is delivered to the pressing plant. The plant completes the following steps:

a) The vinyl master is covered with a thin spray and dipped in a bath of electrolyte. A current is passed through the solution and the silver-sprayed lacquer becomes coated in nickel which creates a negative image of the vinyl.

b) A second generation negative is created and the nickel plate is peeled from this lacquer to become the stamper. The stamper represents a negative image of one side of the vinyl.
c) Two stampers are needed to press up both an A and B sided record.

4. Test Pressings: With both stampers in place, a “puck” of vinyl is introduced into the press. Two labels are placed above and below the puck and the press is closed. In order to flow seamlessly into the grooves of the stamper, the vinyl is heated up to 200 C.

It is then rapidly cooled so that the vinyl can be immediately lifted out of the press. This whole process takes approximately 25 seconds. Normally, a short pressing of 10 copies is made first. These “test pressings” are sent to the record label for approval.

5. Labels: Many people are under the misconception that a “white label” is much cheaper than producing a professionally designed four-colour label. The real expense, however, comes from having the label incorporated into the vinyl. The colour of the label really makes no difference in this process.

6. Artwork: Image is key in almost every industry, making the music industry no exception. Great consideration should go into the label and its packaging, as well as the marketing accompanying its promotional push.

For a rough guide as to how much music you can fit on a vinyl record Nashville veterans UR Pressings have a useful FAQ and quick reference here:

7″ – 4:30 minutes per side @ 45 rpm; 6:00 minutes per side @ 33 1/3 rpm
10″ – 9:00 minutes per side @ 45rpm; 12:00 minutes per side @ 33 1/3
12″ – 12:00 minutes per side @ 45 rpm; 18:00 minutes per side @ 33 1/3 rpm

And there’s more record manufacturing tutorials here and here.

California based Rainbo Records have several short run vinyl pressing deals which start at $1329 for 500 12inch singles and $829 for 500 7inch singles. Things like picture sleeves would add to that cost.

Some pressing plants, like United Records Pressings in Nashville are offering vinyl + digital package deals which includes a secure digital music hosting service, custom digital download coupons with unique one-time-use codes, packaged together. With the popularity of new USB turntables kids can plug their vinyl straight into their computer and rip to MP3 anyway.

In the UK (quotes taken from Curved) expect to pay around  £850 for 500 12inch pressings and around £600 for 300 7inch singles (+VAT!). Take into account that there is a huge amount of variables/possibles and generally speaking the more you have pressed the cheaper the amount per unit. Also, if you need a repress then you wont have the expense of having plates to make up, which are the biggest single outlay in the whole process.

As for vinyl distribution, well for these short runs a band or DJ would be better served selling discs at gigs and via mail order using Paypal and publicizing things on their Bandcamp profile and own website.

Such is the fragile nature of the vinyl distribution business that many of the once thriving vinyl specialists have disappeared, leaving a narrow selection of ultra niche companies and major label offshoots.

If you have a release in Florida you don’t want to be trusting your stock with a distributor thousands of miles away in California. DIY for short runs. Vinyl record mailers you can get here or here in the USA. Here and here in the UK.

“In the United Kingdom, where the CD single is basically dead, there is such a resurgence in vinyl that retailers can’t keep up with capacity. In the U.S., figures as high as 22 per cent are being floated about the growth in vinyl record sales.”
(National Post : March 2008)

If you want to see what your tracks would sound like on vinyl you can get a one off 7″ cut for around $50 from Custom Records (in the US), who’ll even go as far as pressing it in colour vinyl and giving it a picture sleeve for an extra $58! In Europe you can find these ‘lathe cuts’ at Dr Dub in Austria and Dub Studio in Bristol. There are a few more, including legendary lathe cutter Peter King in New Zealand.

USA Pressings:

Archer Record Pressing (Detroit, Michigan)
Quality Record Pressings (Salina, Kansas)
Erika Records (Downey, California)
United Record Pressing (Nashville,Tennessee)
Morphius (Baltimore, Maryland)
Alpha Record Services (Plantation, Florida)
RecordPressing.com (San Fransisco, California)
Trutone (New Jersey, NJ)
Record Tech Inc (Camarillo, Califronia)
Bill Smith Custom Records (El Segundo, California)
Musicol Recording (Columbus, Ohio)

European Pressings
Key Production – London, UK
Curved Pressings – London, UK
JTS Studio – London, UK
MPO – France
The Vinyl Factory – London, UK
Record Industry – Netherlands
GZ Vinyl (Czech Republic)

Related Reading

Return of the Record: Vinyl Sales on the Increase (Amoeba.com)
Amazon Vinyl Store (Amazon.com)
Teens Not Buying CD’s Anymore? (Exclam.ca)
Hard to Find Records (HTFR.com)
Vinyl Gets its Groove Back (MIT via Time.com) pdf file. Slashdot response
Vinyl Maybe Final Nail in CD’s Coffin (Wired.com) Digg response IndieHQ response
Putting a New Spin on Vinyl Records (NPR)
How to Reissue a Record (Classic Records)
The Making Of Vinyl (Random Good Stuff)
Vinyl vs. iPod (The Huffington Post)
The CD is Dead… Long Live the New CD ? (LAist)
The End Of the Music Biz As We Know It (Forester Research)
The Inevitable March of Recorded Music Towards Free (Techcrunch)

How Vinyl Records Are Made

This post first appeared on Buzzsonic back in 2009 but I thought seeing as its Record Store Day here in the UK and in the USA and elsewhere, it was worth a repost. Seems more topical now than it did back then actually what with all the renewed interest in vinyl and increase in sales and manufacturing, so…

In support of my recent post, ‘It’s Official, Vinyl Not Dead Shock’ and my older more detailed look at getting vinyl records pressed, ‘How To Press Up a Vinyl Single and Add Instant Kudos to Your Release’ , I dug around YouTube and found a bunch of instructional videos that should fill in the blanks for bands and artists looking for the inside look on vinyl pressings, cutting and mastering.

Having said that, Vimeo came up trumps with better quality instructionals but its also worth looking at this YouTube video of Detroit techno cutting engineer and producer legend, Ron Murphy who passed away almost a year ago now.

If you play Detroit techno and have played records with the letters NSC etched into it, you’ve played music that has been mastered by Ron. In fact most of the records that have come out of Detroit have been mastered by him.

Related Research

Vinyl Pressing Plants Listings  (Lathe Trolls Wiki)
Long Live Vinyl (Mastered and Manufactured) In Detroit (LX7.ca)
Vinyl Pressings (YouTube.com)
Everything You Need To Know About Vinyl-PDF (Tunecore.com)

The Ultimate Digital Music Distribution Round-Up (Part Trois)

I’ve actually been promising an update to my two earlier posts on digital music distribution for waaay too long now, so apologies to all for the horrible delay (April 2009? What the..). Anyway. In case you missed them…

Part 1: ‘Exploring The Digital Music Distribution Jungle’ April 2009
Part 2: ”Digital Music Distribution Round-up Part 2′ April 2009

There were seventeen companies mentioned in Pt.1 and thirteen in Pt.2. Out of them, the only change to report from part one is that Australian based Musicadium has been rolled into Valleyarm.

In part two, WaTunes dropped their bespoke distribution service and changed tack to become a ‘social music store’ and now choose to go thru ReverbNation for distribution services.

The rest, as you were.

Rather than go over the same points here you’ll be much better off catching up with the first two parts. To make things a little more convenient I’m welding the three pieces together as one PDF so you can print and study at leisure.

Some points you may want to take into consideration when choosing a distributor.

Location. Is your distributor of choice in your own country? Possibly a key issue because of currency differences and support concerns. Do they have phone support? A physical address?

Read the websites about page to find out names, history and credentials. If they have none, move on. Use Google. A lot.

Always amazes me when some site pops up claiming combined “20+ years industry experience” but giving no actual NAMES. Then you get a PO BOX for a mailing address. Run. In the opposite direction. Continue reading

200+ Music Industry, Marketing, Social Media and Tech Blogs That’ll Make You A Media Whore!

I’m desperately trying to cut into my over populated desktop RSS feed reader as I really do not have the time to wade through the amount of subscriptions that I have in there. What with FeedDemon pop-ups and Tweetdeck its like having bloggers ADD (on steroids) and having too much information at your fingertips is as self defeating as not having enough.

RSSCrowd

Well over seventy percent of my feeds are music related, be they music news, music industry commentary,tech and MP3 bloggers and music 2.0 (is that term still in use?) evangelists. Very few of them are from traditional music biz news outlets like Billboard (USA biz bible) or Music Week (UK equivalent). Simply because I think that  much of the mainstream music press are as behind the rest of us as the recording industry itself. With some exceptions of course.

Walled garden restrictions to content are a major sticking point for me.

Probably the best place to start vacuuming up those music news resources is at Guy Kawasaki’s excellent  Alltop Music, though my main ‘complaint’ is that I have to visit each individual link to grab the RSS feed. A nice touch would be to have the feed URL next to the publishers headline.

Anyway, so I decided I’d do just that. Gather all the most useful and essential music/tech/social media (they blur into each other these days) related websites and blogs together in one big huge collection that I use on a regular basis through the beauty of RSS feeds. So I’ve done a bit (a lot!) of feed harvesting and squeezed everything into an OPML file for data portability.

I’m including an OPML download link so you can import all the feeds within seconds into your RSS reader of choice, whether that be via your desktop app of choice, Google reader online or a Firefox add on (like Sage). There’s an OPML file for each category to import or the whole bunch rolled into one.

Each category has an OPML link so you can grab the feeds by category. Do leave a comment if I’ve missed anything of note (I probably have).

Continue reading

How Vinyl Records Are Made

In support of my recent post, ‘It’s Official, Vinyl Not Dead Shock’ and my older more detailed look at getting vinyl records pressed, ‘How To Press Up a Vinyl Single and Add Instant Kudos to Your Release’ , I dug around YouTube and found a bunch of instructional videos that should fill in the blanks for bands and artists looking for the inside look on vinyl pressings, cutting and mastering.

Having said that, Vimeo came up trumps with better quality instructionals but its also worth looking at this YouTube video of Detroit techno cutting engineer and producer legend, Ron Murphy who passed away almost a year ago now.

If you play Detroit techno and have played records with the letters NSC etched into it, you’ve played music that has been mastered by Ron. In fact most of the records that have come out of Detroit have been mastered by him.

Related Research

Vinyl Pressing Plants Listings  (Lathe Trolls Wiki)
Long Live Vinyl (Mastered and Manufactured) In Detroit (LX7.ca)
Vinyl Pressings (YouTube.com)
Everything You Need To Know About Vinyl-PDF (Tunecore.com)

Its Official, Vinyl Not Dead Shock

I talked about vinyl records here back in March so with year end music sales figures just released this seems like a good excuse to revive that piece. I’ve been releasing vinyl records since 1995 when my first 12 inch single crawled onto London’s house music scene. To see that same medium still making waves thirteen years later is encouraging news in an age when music as a medium has become fast food.

99th Floor Elevators 12 inch vinyl

For all its convenience, flipping through the 10,000 tracks crammed onto my iPod has given me the attention span of a common house fly. When I was buying vinyl it was more of an event, you read the sleeve, you held it up and admired it, hell, you even read the label and the etch scratched on the run out groove by the mastering engineer. My first vinyl single was mastered at London’s Abbey Road studios, my last one in 2005 was done on a laptop in a home studio set up. You can’t stand in the way of technology.

Ironically one of my old tracks was recently signed by underground house label Suesse Records and in all likelihood the new remixes will be issued as high bitrate MP3’s and will be found at download stores like Beatport and TrackitDown instead of on the shelves of one of those fast diminishing underground DJ vinyl stores that used to pack London’s Westend.

Figures released by Soundscan reveal that 1.88 million vinyl albums were purchased in the USA, more than in any other year since Nielsen SoundScan began tracking LP sales in 1991. That was an increase of 89%. The previous record was in 2000, when 1.5 million LP albums were sold. More than two out of every three vinyl albums bought in 2008 were purchased at an independent music store.

Industry observers say vinyl record sales have skyrocketed because new buyers are discovering the value of owning albums, with their cover art, large liner notes and warm sound. According to Computer World who spoke to one of the few vinyl pressing plants left in the US, Rainbo,  they’d doubled vinyl production from 2006 to 2007 and more than doubled record output this past year.

Related Links

How To Press Up A Vinyl Single……. (Buzzsonic.com)
Back To The Future:Vinyl Record Sales Double In ’08, CDs Down (ComputerWorld.com)
Web Music Sales Up, Album Sales Plummet (P2Pnet.net)
2008 U.S. Music Purchases Exceed 1.5 Billion; Growth in Overall Music Purchases Exceeds 10% (MarketWatch.com)
Coalition Of Independent Music Stores (Cimsmusic.com)
Almighty Institute of Retail (AlmightyRetail.com)

Physical Music Distribution: How And Where?

There’s been much talk here about digital distribution and even vinyl records and its true enough that digital distribution has demystified music distribution for the diy label and artist but the reality is that (legal) download services still only have a third of the full retail music market share, so CDs, (at least for the time being) and even vinyl are still around and wont be going anywhere for a while yet.

“Digital sales now account for an estimated 15% of the global music market, up from 11% in 2006 and zero in 2003. In the world’s biggest digital music market, the US, online and mobile sales now account for 30% of all revenues” IFPI Digital Music Report 2008

We’ve already talked about vinyl pressings and it has looked a little bleak for quite a while with stories of closures of vinyl distributors. Which has once again bought up the ‘vinyl is dead’ catcalls. But, despite the sometimes negative outlook there is a renewed interest in vinyl (which I wrote about here).

“Chain stores don’t know what to do with vinyl and I would rather indie stores make money off of my products. Nearly all of the records have been sold through the Vinyl Collective website or through mom and pop retailers..” Virgil Dickerson – Surburban Home Records

Vinyl or CD?

Well, how much money have you got? Manufacturing a vinyl record is much costlier than a CD. 1000 CDs in jewel cases, retail ready will cost around $1200 from somewhere like Discmakers. 1000 vinyl albums would be more than double that from somewhere like UR Pressings in Nashville.

Unless you have a major following (then you wont be reading this anyway) then 1000 vinyl albums (or singles for that matter) is probably over doing it a little. 500 still works out at around $4 per unit for vinyl. Its less than half that for CDs. Consider that if you’re worried about being able to shift 500 hard copies then maybe you should stick with the download option.

Where To Sell?

If you have a good live following and play regular then 500 sounds like a number you could sell via gigs, your website, a link on your MySpace page and mail order (CD Baby and Amazon Advantage are the two outlets that spring to mind).

Follow Virgil Dickerson’s advice (see above quote) and stick to indie stockists for shifting vinyl singles. Hopefully there will be an independent retailer left near you that you can approach. If not send a copy to a key retailer and see if they’ll take 5/10 copies.

Whats a key retailer? Any well known music store in a big/happening city. Rough Trade and BM Soho (aka Black Market) in London would be two. Fat Beats (in NY and LA) would be one, Y and T in Miami  would be one so would Amoeba in LA.

All the mentioned stores have a ‘buzz’ surrounding them, all have a bit of a scene around them. They’re hangouts too. Like good record stores used to be.

Of course this is no definitive list. Make your own. Do your research in your own particular music genre (and even left field artists have their outlets). Read MP3 blogs, artist blogs, make notes, use Google!

If you sign up for (CD) distribution via CD Baby, part of the deal is that your release (and you do need that barcode to get in there) gets added to the database at national distributor Super D who cover over 2000 stores in the USA.

Another way of an indie artist getting into (US) retail chains is via FYE’s Localeyez program.

Be Aware!

I’d warn anyone against sending their whole pressing run (CDs or vinyl) to one distributor. Chances are you can shift that short run yourself anyway so instead send a box or two to outlets that can get you into key markets or exports. If you’re in Florida and you lost 20 units to a distributor in LA, you can live with that. If you had the whole run sent there and something goes wrong, you’re screwed.

Trying to get a distributor interested is not much different than trying to get signed to a label. Instead of sending your music to a record label, you’re sending your music to a distributor.

And again, here, do your research when looking for a distributor. Larger distributors wont really consider one off releases from bands or artists without a track record. Look at independent records or artists that you like and find out who distributes them. Find their MySpace page, email them. Make sure you get through to the person at the distributor who is most likely to be into the music you are pitching.

I’ve listed a good list of distributors to start you off here:

UK

Plastic Head – (Extreme Metal to Hip hop, Techno to Reggae, Ambient chill out to Hardcore Punk
Proper Most genres
Kudos – Dance, soul
ST Holdings – Drum’n’Bass, Hip Hop, Breakbeat, Techno, House, Down Tempo and Dub Step
Shell Shock – Independents

USA

City Hall Records – Jazz, Blues, Rap/Hip Hop, and World Beat
Revolver USA Rock, punk, dance
Nail Distribution – Indie rock, indie pop, electronic, punk, alternative rock, avant-jazz, vintage funk & soul, classic punk, experimental, evil metal, sweater-core, strumpet core, hardcore, emo and just about any other edgy genre
Red Eye USA – all indie genres
TRC Distribution – DJs/dance
Thirty Tigers

Related Reading

Why Do People Buy Records? (MatadorRecords.com)
Find Music Distribution (About.com)
IFPI Publishes Digital Music Report 2008 (IFPI) 28pg PDF
Vinyl Roundup (Donewaiting.com)
Coalition of Independent Music Stores (CimsMusic.com)
Music Industry Statistics (Wikipedia)
The Vinyl Frontier (Test Industries)
Response to Wired’s “Vinyl May be Final Nail in CD’s Coffin”(IndieHQ)
USB Turntables Raise Vinyl From the Dead (Straight.com)

A Wonderful Thing For Music The Internet…

A film came through the post this morning from Netflix called ‘I’m Reed Fish’, which I can’t for the life of me remember putting in my queue. Anyway, it was one of those cute OK movies I guess, not great and not bad either. When a movie is like that I have this awful habit of watching with my laptop open, just ‘in case’, y’know. And sure enough that ‘in case’ arose.

It usually means I’m going to be consulting the IMDB with some query about the film, like location, who was on the soundtrack and any other trivia only a blogger would care about. The trigger that had me reaching for the keyboard was seeing actress Schuyler Fisk sing in a bar scene in the movie.

By the end of the scene I’d managed to ascertain (via the Amazon owned IMDB) that Schuyler Fisk was actually singing the song in the movie, she was Sissy Spaceks daughter and the track was the wonderful, “From Where I’m Standing” (and I’m not usually a folk fan).

Googling the song title got me the lyrics and also a link to a YouTube video of the song in question. Trying to get my hands on a copy of the track in question wasn’t so simple. Bizarrely (as the most memorable track on the soundtrack) the track doesn’t even get a mention on the official soundtrack CD or her MySpace page.

It pops up as a ‘demo’ stream on her artist website but seems that the track is held up in major label (Universal Music) album limbo.

Searching various BitTorrent sites got me zilch, but an MP3 blog search eventually found me the track I was looking for (apparently it was on a 2006 EP called ‘Songs For Now’.

I don’t know, bar two tracks on iTunes and a couple of appearances on soundtracks (except the one that mattered!) I wasn’t able to actually buy any other music. Anyway as an aside, I also stumbled across (her boyfriend?) Joshua Radin’s folky cover of Yazoo’s classic, ‘Only You’ too which was an unexpected gem. You’ll find it on his album, ‘We Were Here’, which by marked contrast you can get quite easily from Amazon either as a traditional CD or as MP3 download.

Related Reading

Schuyler Fisk MySpace (MySpace)
Netflix Fan (Netflixfan.Blogspot)
Orbit Rich Media Downloader (OrbitDownloader.com)