8Sided Blog

a zine about sound, culture, and the punk rock dream

The Pros and Cons of Bandcamp’s Vinyl Pressing Service

· 2 Comments

img-0

On the one hand, it’s excellent news that Bandcamp is expanding the company’s crowdfunding tool, allowing artists on the platform to ‘kickstart’ their way to a vinyl release. Called the Bandcamp Vinyl Pressing Service, the program integrates with an artist’s existing Bandcamp follower base to solicit advance vinyl sales over a 30 day period. If the artist meets the goal — which will be around three grand, minimum, for an LP — then Bandcamp will handle manufacturing and, ultimately, shipping and fulfillment for the vinyl release.

This service sounds great, and, for the most part, it is. The collapse of PledgeMusic left a hole that Bandcamp is looking to fill, as far as music-focused crowdfunding goes. It’s especially attractive to bands that don’t want to deal with shipping and customer service. And, as I’m guessing the shipping will originate in the US, this creates an advantage for bands from other countries with large fanbases in the states.1Last night I spoke to an Australian band who are drawn to Bandcamp’s new service partly for this reason. 

But now we come to “on the other hand.” Of course, Bandcamp is much-loved — and deservedly so — in the music community, probably the most trusted of all the digital music platforms. But it’s still worrying that bands and artists are relying on a single company for an expanding range of roles. Bandcamp is the digital marketplace, the fan community engine, the discovery system (via their fantastic editorial), the livestreamed-concert platform, and the vinyl manufacturer. It doesn’t matter that Bandcamp does these things well and seems good-intentioned. History has proven what can happen when bands rely heavily on platforms they don’t control.2MySpace and the aforementioned PledgeMusic are just two examples here. Bandcamp’s terrific, but that shouldn’t stop artists from building IRL communities, exploring their own in-site web stores, and comparing options for vinyl pressing. 

And that comparison is a way that Bandcamp’s vinyl falls short. As tweeted by Grace Ambrose of Thrilling Living, one would need to raise over $3500 on Bandcamp to manufacture 250 copies of an LP with color jackets and labels. If you do this yourself, going direct with any of the available vinyl plants, you could press 300 copies for about $2500.3I can confirm this. My label’s 300 unit pressing of Monta At Odds’ Argentum Dreams album cost about this much. So there’s considerably more profit (and a lower break-even point) when you press directly, especially when you factor in that Bandcamp takes a cut of all sales. 

I also think it’s important to be involved in each step of the vinyl manufacturing process and in close contact with your pressing plant. Bandcamp’s service appears to be hands-off — you deliver the artwork and audio, and eventually, there’s vinyl for sale. The Bandcamp Vinyl Pressing Service’s online materials aren’t transparent about which pressing plant or plants they use. That’s crucial info to know if you care about the quality of your records.

I understand that a lot of you just want to put out a vinyl record. You don’t want to deal with the pressing plant, get mired in the technicalities, or (especially) deal with shipping. The reduced profit margin is a reasonable trade-off for not enduring these headaches. Thus, this program is for you. I get it. And, out of all the third-party platforms that I’d want handling this stuff, Bandcamp is at the top of the list. 

Because of Bandcamp’s service, many more bands will be able to fulfill the dream of delivering music to fans on vinyl. Indisputably, that’s a beautiful thing. But know there is long-term value in learning the ropes and independently managing the vinyl-making process yourself. If you’re contemplating vinyl, weigh the pros and cons of the Bandcamp Vinyl Pressing Service. If you have the time, don’t mind some small headaches, want to potentially earn more, and are into the valuable education of managing a vinyl release, consider pressing your records without Bandcamp’s help.

The Patronage Economy and Fan Accessibility

· 1 Comment

Here’s an enthusiastic TED Talk from Jack Conte, co-founder of Patreon and one-half of Pomplamoose:

 

Conte: What gets me super excited to be a creator right now, to be alive today, to be a creative person right now, is realizing that we’re only ten years into figuring out this new machine, to figuring out the next hundred years of infrastructure for our creators. And you can tell we’re only ten years in as there’s a lot of trial and error. There’s some really good ideas and there’s a lot of experimentation.We’re figuring out what works and what doesn’t.


More from The Verge on Patreon’s promise:

Patreon isn’t simply a replacement for record labels or TV networks, though. Instead it’s the ideal incubator for niche internet subcultures, where a small but dedicated group of fans can directly support work they care about. That includes traditional arts and entertainment, but also YouTube celebrities, cultural figures, or even political actions — some inspiring, some troubling. The Patreon model encourages people to see themselves not as consumers, but as members of a private club, free from the constraints of mainstream gatekeepers or mass-market appeal. And in the process, it’s blurred the lines between art, artist, and audience in an unprecedented way.


I admit two things here: I share Conte’s optimism and enthusiasm for being a creative person in this current era. I also quite like the idea of Patreon. It’s been tough for me to warm up to crowd-funders like Kickstarter and PledgeMusic as I can’t get over the perception of having to plead with one’s fans.

Then there’s the ‘breaking the fourth wall’ aspect. “Pledge $500 and the band will cook you dinner.” I know this works for some artists and fits in their M.O., but is this the future for all creators? Maybe I’m old fashioned in that I enjoy an air of mystery from the musical acts I enjoy. I’d rather not have them cook me dinner or call me on the phone in return for some cash.

On the outside, Patreon seems different. The ‘patron’ is joining the fan club and getting perks. For musicians using Patreon, these perks could be advance peeks at songs, limited merch or physical releases, and glimpses into the creative process. But there’s also the phone calls, the live chats, the guitar lessons. Again, that’s fine if this intimacy with fans comes naturally, but the worry is it becoming an expectation from those who aren’t comfortable. You know, like most artistic types.

From The Verge again:

Unlike their predecessors, internet celebrities thrive on a radical accessibility. {Musician Peter} Hollens, for example, has built his current a cappella career on subverting the rock star mystique. He’s got an easy answer for why there are so few fellow musicians topping Patreon’s charts: “Musicians are a product. We have a difficult time conveying to the audience that we’re people,” he says. “I’m a person first and a musician second, because that’s the best angle to take to succeed in the future as a musician. It’s very difficult to have that come across when you have, like, a slick produced audio and visual thing.” His music videos are complex and stylish, but he ends each one by earnestly addressing the camera, breaking the fourth wall between him and his audience.

In this system, it’s almost impossible to separate a work of art from its creator — or, at least, its creator’s public persona. Is there a future for someone who wants to be a musician, but not a personality? “No. I don’t think so,” Hollens says. “I don’t think the reclusive thing is going to happen anymore. That’s not the world we live in. Like, the Brad Pitts of the world” — distant celebrities who are loved from afar — “are losing value.”


I still think there’s room for the aloof artist. With accessibility becoming the norm I’m entertaining the idea that aloofness might now be a marketable ‘angle.’ I’d love to see a mysterious artist use and exploit Patreon, or something like it, and subvert the platform’s preference for approachability. Is there anyone out there presently attempting this?