154 wrote:losthighway wrote:The newest one we cut down to 200, and didn't think too hard about the incredibly low profit margin we get per unit with the unavoidable expenses of mastering, plating, setup costs etc.I like this model and push for it myself, but always get talked into the 'but for only so much more..' thing. Lardo's first album sold in the 200s, but 500 of the damn discs were pressed (the art is hand screened and made in smaller batches.) I'd rather lose a little money, end up with less waste, and make up for it with BC, merch, and Spotify (hah) money. (It is also a case, ie. only 100-200 made, where one might consider charging 5 bucks more for something 'exclusive'.)Personally, I'd see no advantage in the fact that there is something exclusive about it, it'd be more about having no alternative to get the damn record other than paying 5 dollars more than if 500 copies were made.For the Elma LP we were also presented with the choice of making 300 or 500 records, and the difference was like 50 dollars total, or something ridiculous like that, so we ordered the larger pressing (even though all the art was made elsewhere, the math was mostly heavily in favor of the larger pressing anyway). It's been now a couple years since we stopped playing and I think something like 150 to 200 records are still with the label or me, total (we gave a large number of records to the people who helped the band in significant ways over the years, btw. I have to say I'm perfectly happy that this record will be in print for a long while, I certainly didn't invest so much time and energy in that music and all the care in the recording and packaging for the document of it to become rare.It also means I eventually WILL be able to get a copy of the Lardo record.

Ike wrote:zircona1 wrote:Do artists still release 7 vinyl singles? Or are they just not very practical in this day and age?You just said Beetlejuice three times, dog.Alright, normal caveats here:These are my experiences and your mileage may vary.I was in a band that toured a lot in the 2000s, not really somebody... but also not nobody. (hey gnangle, we even played with you on tour!)We sold a good amount of cds. This was because there was a really good chance that when we played a place the people that liked it would never, ever hear it again if they didn't get it right then. How many? Well, enough that our label at the time had to send us more a couple of times at places throughout the U.S. Again: I don't think that's some crazy achievement, there was just no other way to get it. Those days are gone, gone, gone.At the time, vinyl was DEAD. Internet happens, vinyl resurgence, etc.However, vinyl making a comeback largely benefits known commodities and established artists. For the average unknown band it doesn't really mean that much, and beyond the initial record release if you aren't touring or don't have a hook of some kind, it's a risky move. If you do it, it should be because you want it out on an archival format you can be proud of. It'll be for the people who it's for. When my current band records, it's pressed to vinyl and it's pressed to cd. Because of the other band of one of the recording members, we started selling cds. This is crazy to me, because cd sales were almost nothing in my previous band. It isn't a TON of cds, but it's enough to get them made and justify their existence. The first vinyl record, we did a pressing of 500... gatefold vinyl, 180Gram, cover art by somebody whose thing I really dig and getting to honor a dead friend of mine on the cover was really special. The over the top presentation was because it meant something to me. We learned to be punk rock together, I got it together, he didn't. He never got to put out an album, but he ended up on one eventually. It was exactly what I wanted it to be, but I had no way to gauge how many we should make. We made 500.We've sold... half? That was January 0f 2015, and we had vinyl in hand the day of the PRF BBQ in Chicago. Most of those sales of that first record were within the first 6 months. It's three years later, and other than people looking to catch up on the back catalog, sales are minimal to non-existent. The next record was a superior and more fully realized concept and aesthetic. No gatefold on this one, but we did tip-on, high quality vinyl and again artwork from an artist who I absolutely and completely adore. Same deal, we got 500 of them. Now we're down to... 77? An online sale trickles in now and again, but more often than not it's people buying stuff on tour and at select out of town shows. I'd say by late 2019 it'll be out of print, but keep in mind that we tour and there's a hook. The latest thing is a series of monthly singles, both digital and 7. This is also what prompted Ike's Beetlejuice comment, I would guess. 300 copies each, hand screened covers, etc. I thought that having something once a month might be easier for people to parse and make a more enjoyable experience (2-3 minutes for our side, about the same for another band on the other side that would be an avenue of discovery). Free to stream, $2 download, if you want a physical you get a neat one of a kind Pokeman that will never be in that format again. Hasn't really worked out that way. zircona1 wrote:Do artists still release 7 vinyl singles? Or are they just not very practical in this day and age?Not practical at all. It's for who it's for. And that sure as hell isn't everybody. It's about the least practical thing in the world to do multiple ones. I spend my time in a constant state of mailing things out, or buying printer ink or buying strapping tape, etc. At any given time i'm talking to the artist for the sleeves, the mastering house, the vinyl company or putting things up on bandcamp and the vendor for the other digital services stuff. A bunch of people warned me that this would be a lot of work for very little reward. They were correct. It's all the stuff I hate about being in a band by a factor of 12. However, it was my decision to do it this way. Cynics rejoice! This was a bad way to release music. Short story: the 7 format is far less popular in modern times than the full length vinyl record. Why? Don't know. Really difficult to recommend unless there's a crazy hook to it, or it's something from a very known commodity. A word on pricing:After getting a lecture from a friend whose opinion I value about punk rock guilt for pricing the vinyl lower than it cost, I raised the prices to what they should be. I was selling the first one for $12, which got adjusted to $15 (gatefold) and the second record at $17 (tip on cover), with the 7s each priced at $8 each.I gritted my teeth about it, I sweated over it. I got over it.People buy them, it covers costs and pays for the next thing. Which is all i'm looking for. Guess what? You can listen to all of it for free very easily.Sales were exactly the same, but now we weren't losing money on each one. So, for US... Vinyl and CD for full lengths. EVERYTHING not only goes up on bandcamp (which has the whole buy the discography feature if you prefer it). I can only justify that because i've got I'd never, ever release a cassette on my own power or dime. Never. I don't begrudge anybody that does, it's affordable and some folks seem to like it. I'd seriously rather just buy a download. I've seen some people do some crazy awesome Tape packaging. It sits on a shelf as a piece of art in my house. This is good here:154 wrote:I don't mean annoying collector 'limited' stuff that sells out in 5 minutes either (must be a nice problem to have, stoner rock and hardcore labels..). Press enough for the people who really want it and some new fans along the way but don't be delusional.Yes! Be realistic about it. I've been guilty of being far too optimistic with one of my old bands, and it means that the various members have to haul around respective boxes of vinyl. It's a little depressing and that's IF you have the room to store it (most don't). I was absolutely too much of an optimist for the first record mentioned in this post, and probably just about dead on for the second. The second one was more popular. That isn't really something you can foresee though. Going forward, I think i'll keep it to run of 300 and just let it go out of print.It's hard not to look at shelves and shelves of unsold records and not have it work on your self-esteem a little. Deserved or not. Making vinyl and doing it RIGHT, is a lot of work. It's a lovely thing for the people that want it, but the outside universe is largely uncaring and unfeeling (as adequately expressed by the cynics in this thread). It's worth it to me, because at the end of the day I have a back catalog of the music I love so much, in a format I love on quality vinyl with artwork by people whose art I really admire. I'm in a nice position that there's enough interest that I can keep it going without being financially ruinous, but it's still a serious amount of work to exist as more than a thing you click on in the internet.

The last album The Bismarck made we did CD's with a download code included to sell at shows. It totally worked. When someone would hold the cd in their hands I would see that look of I don't know... I would mention that it came with a download code, then they would usually buy it. I was actually kind of amazed.In my experience with selling merch I have discovered that people want to buy something physical, but don't want to pay too much for it. Vinyl, to cover the cost, you have to charge more. Also, a lot of people really just want the download code for it anyways, BUT nobody is going to pay $7 for a piece of paper.I have noticed this with the resurgence of cassettes. I know full well that nobody is listening to that on an actual cassette deck. Pretty sure that they are just using the download code. They just want something tangible for their money.

Christopher wrote:This is brilliant.

blowing my nose, or sneezing. Anything to clear up my sinus.

An art card featuring the sonic architecture of one's recording represented as graphic notation

A lot of people into underground music have shitty cars and cassettes are fun because you pop them in and it sounds like you remember

How about you just laser engrave a download code onto a bullet case?

Eric Fundingsland wrote:The last album The Bismarck made we did CD's with a download code included to sell at shows. It totally worked. What's funny is: back when, if i'd get a cd at a show the first thing i'd do when I got home is toss the cd in the computer to rip to the library.Now: my computer doesn't even have an optical drive. So that tracks. Maybe this is something to consider going forward.

I just found a bunch of sealed Maxell XLll chrome Cassettes. Sweet.