Cheers pal - all makes sense and option 1 works for me. I’ll set up an account and DM you the deets.
I voted in for releasing records and upgrading your account via the poll but I’m not actually planning to release anything for a good while yet so I’m happy to just pitch in to get things moving and support the real artists on DiS for now.
Sound! Just to say though, don’t set a up distrokid account yet. You guys would need to do it once I’ve upgraded so I could send the invite codes which give 50% off fees, otherwise you’d have to pay the full amount.
I probably need a Distrokid account anyway so I’ll look at option one.
Just to be totally clear:
In option 1, to get the 50% discount on artist fees, people would need to wait until my account has been upgraded and I send out invite links. If they’re set up before that then you’d have to pay the full amount!
Don’t want anyone to have to pay more than they need to.
Bump on the naming.
@AphexTwinkletoes, have you got maybe 10 tracks that I could throw together as a podcast?
Yeeaaahhh! I’ll piece you together a playlist and let you know who the creators are so you can source downloads as needed - sound ok?
up for nthis
Also I have a suggestion for the name - Jaguarundis.
It’s an actual word, has the words JAG and DiS in it, sounds like “Jag Around This”, and is an actual thing too - means a “a mainly tropical American wildcat”, which could easily be the logo.
trying to figure out what my position on this is given other distribution & various deals I’ve already got to juggle
One thing though, and not to poo-poo Distrokid or McGarnagle here, distrokid’s main plus point cost wise is that it’s a flat fee per year that covers all releases whereas most other digital distro operates on a flat fee per release basis… so obviously there’s a point at which the number of releases (and type) per year play into the budget equation. For instance it makes sense if you have a lot of catalogue to use Distrokid …but we haven’t got any catalogue yet
…which brings us to an important question; How many releases and of what type are we looking at per year?
also, how will we deal with the ‘curation’ especially wrt each release being mastered as a unit rather than all sorts of different volumes, sound quality etc? How are we going to define what gets put out there? Or are we just gonna throw as much as possible and see what sticks?
jagwar undies ?
Wow, you’ve just sorted our merchandise too! Perfect!
All fair points, to which I do not have an answer…
It’s definitely something that needs some blue sky thinking / market research
Are we just gonna do various artist compilations?
Individual artist EPs?
Individual artist full albums?
How do we split it between the beatless & the more dance stuff?
Here’s a top of the head idea… One various compilation per month alternating between Ambient one month, electronica/dance the next
that makes 12 compilations in a year from which each artist could then collect their various tracks together into individual EPs/mini-albums/LPs depending on how many tracks they’ve done/contributed
This could also work in the opposite direction ----> EPs/mini-albums/albums split off and collected into label sampler compilations
just thinking off the top of my head here
also, who decides?
If I want to put an EP out on the label & half of you think it’s shit what happens then? (this isn’t personal to me of course. How do we judge quality control?)
tbf splitting tracks would fuck me up, I like to use ambient bits as breathers on my lps
Yeah, figured this might be a conflict for you with all the other stuff going on.
I think we’re aligned on a rough genre in the range of ambient/IDM
Type - I think a good starting point is a mixture of albums/EPs released digitally. There are a few of us with things which are already out in the wild - I think we can start by doing a sampler with maybe a track per existing release that we want to bring under the label?
After that… honestly, not sure. I don’t want it to be a high-pressure thing where we need a regular cadence of releases. I think the cost @McGarnagle is proposing feels like a low entry point per person even if it’s not necessarily the most cost-efficient? It certainly feels ok to me.
Been mulling over this a lot tbh. I would propose we formally choose a couple of folks who have the ultimate yes/no on albums/tracks/mastering - in an entirely elective capacity rather than meaning any additional cut of (non-existent) revenues. I’ll throw my hat in the ring as one of those folks, although I’ve not got a great ear for mastering…
As a non-creator, and more of a curator, I’d throw my hat in too. I’m not into the creation but listen a lot and have been a critical writer in the past.
You’ve got my vote.