Of course, the best place to sell your music is on places like Mirlo and Bandcamp, where you actually get paid well for things and your buyers are able to retain access to your music in exchange, but the unfortunate reality of music in the current era is that most listeners are going to the streamers to listen to stuff, so if you want your stuff to be listened to, this is where you have to put it.

Recommended: TooLost

TooLost is my current primary distributor for the major streaming services. Their upload process is pretty okay (not perfect, but not the worst either), they have support that are reasonably responsive, and they cost only $20/year for unlimited uploads with full royalties going to the artist. They also support a huge number of streaming providers and marketplaces, including the ones that people actually use.

They also provide content ID management with a good level of granularity (for example, you can whitelist various YouTube/Twitch/TikTok channels to allow them to use your music without restriction), and they have a bunch of addons for analytics tracking.

It would be nice if they had better bulk-editing features for the music uploader, and if their catalog importer actually worked reasonably well (I do not recommend trying to use it if you’re migrating to them since it ends up being more work than just reuploading your tracks directly), and I’ve had some difficulty with my YouTube channel mapping (which doesn’t really matter all that much), but generally-speaking they’ve been great to work with.

They also provide mechanical licensing for cover songs, but currently charge $15/track (as a one-time fee). This is perfectly reasonable, but not the best deal around.

They also include a simple “find this release” page for free (and you can customize the URL!), and it works well enough, although sometimes the links break and you have to pester them to fix it.

As far as I am aware, they are unique in being an affordable distributor that also lets you specify your own release label without paying a bunch extra for a label account.

On my radar: Soundrop

I have’t worked with Soundrop yet but I’ve heard good things about them. They charge only $1/track per upload with no annual fee, and instead take a royalty cut from the streaming services. This makes them less of a good deal than TooLost if you’re uploading a lot of albums or singles per year, and it also means you aren’t maximizing your revenue, but for another $1/track they will also provide mechanical licensing for cover songs and administer your royalty splits, making them an extremely good deal if you do a lot of covers. You won’t make as much money on a popular cover as you would doing it yourself or through TooLost, but you also won’t get sued for messing something up. Probably.

Less good: CDBaby

CDBaby is pretty much the original indie distributor for the streaming services. A lot of why they have so much cachet is due to them being around the longest. One of my albums is still handled by them because I can’t be bothered to move it elsewhere.

The plus side to them is that they only charge a one-time fee for distributing your album, and then maintenance comes in the form of a 10% royalty cut.

The minus side is that one-time fee is $10 per release (which isn’t awful for albums, but is enormous for singles).

It’s a lot better than it used to be, though; back when they were the only choice it was something like $75/album and a 30% cut, and I think they only changed it very recently. They also charge money for a “find this release” page, and the amount they charge is enormous for what amounts to a single non-customizable static webpage. No thank you.

I ended up moving the two released-as-Sockpuppet CDBaby releases to TooLost mostly to simplify my album management and that process was also a bit annoying, especially since they ended up taking down the TooLost versions of those albums when they did so and that was a giant mess to sort out.

Probably avoid: Amuse

Amuse made their way by being a free distributor that used artist success as a sort of A&R thing. I did a couple releases through them. The process was abysmal, and accessing any information required running a goddamn mobile app for some reason.

They are no longer free, and they’re still very app-focused. I don’t see any reason to go with them over any of the above choices.

Probably avoid: DistroKid

I was pretty loyal to DistroKid for many years, but I switched from them to TooLost last year because of a number of issues.

• Their cover licensing is incredibly expensive and requires ongoing maintenance fees
• Their ContentID is incredibly expensive, requires ongoing maintenance fees, and doesn’t allow fine-grained whitelisting
• When Spotify notifies them of algorithmic streaming (legitimately or not) they will just outright remove your music from the services with no real recourse
• They have been accused of union-busting and being bad to their support team
• Their support has definitely gone way downhill in recent years
• The uploader interface is pretty terrible

If you are fine with all those things, their price is pretty good, although not as good as TooLost. Like TooLost they provide a “find this release” page for free, although you can’t customize the URL at all.

Probably avoid: Tunecore

TuneCore was the first real alternative to CDBaby, and when they came around they were very much not good. They were extremely expensive (something like $100 per album per year) and I don’t even remember why I was convinced to try them out for a year. I think it’s because they were the first distributor which didn’t take a royalty cut? Not that it mattered, because I made something like $2 in royalties on that album. Then when I asked to take my album down instead of spending another $100 they got weird about trying to retain me as a customer even though that release was now $98 in the hole. So I have a lot of lasting resentment because of that.

Nowadays they charge much more reasonable rates, starting at $23/year (which is decently competitive, although doens’t include all the features that TooLost does at that price point). Getting all of TooLost’s features requires paying twice as much.

Radio Free Fedi hosted a series of summer concerts, and I’m thrilled to have performed a set on July 6, broadcast from VRChat.

You can read more about the festival on the NHAM blog.

The manufacturing space used to be a lot bigger, but these days there’s not a whole lot of options. For most musicians, there are two paths to go down: on-demand and short-run.

On-demand

On-demand manufacturing is the easiest one for most musicians to do. Rather than buying a lot of inventory up-front, you set up your setup files with a manufacturer and then when an order comes in, the unit is produced and shipped on an individual basis. For a CD this means it’s burned to CD-R, and for a vinyl it means it’s lathe-cut.

The plus side to this is that you don’t need a huge up-front investment and you don’t need to manage inventory, and someone else handles the fulfillment for you (usually with better packing/shipping materials than you’d have access to yourself).

The minus side is that your options are extremely limited, and the per-unit cost is a bit higher (meaning less overall profit).

For most musicians I would recommend this as the first step, and then if interest grows, switching to short-run.

At present there are only two choices I’d recommend: elasticStage and Kunaki, but both have pluses and minuses. I will also talk about why I do not recommend a third option that I am aware of.

elasticStage

elasticStage is mostly known for their lathe-cut vinyl, but they also do CD manufacturing. Their vinyl quality is quite good; see my original review that discusses the packaging, and my updated review for their subsequent improvements to their audio quality.

They offer the following product types:

• 12" vinyl, with or without booklet
• CD, with or without booklet

So far I have only done vinyl and CD without booklet, and I haven’t personally seen the CDs (which are far less popular than vinyl) but they are packaged in a “Digipak”-style cardboard sleeve. In both cases the booklet is 12-panel.

The big downside to them is that they don’t currently support any sort of drop-shipping order fulfillment; listeners basically have to order through elascticStage’s website for it to make any sense. There are annoying means of kinda-sorta drop-shipping through them but they’re extremely not worth it.

Another thing to keep in mind is that they don’t let you set your own unit price, and they are also currently based in the UK so shipping can be slow and expensive for much of the world.

Their pricing is a little confusing, but the short version is that, for most people, the base price on vinyl is £22.32 (around $30) for the record and an additional £4 for a booklet, and CDs are £9.12 (around $12) with an additional £1.20 for a booklet, and then of course whatever shipping they charge on top of that.

They also do let you produce a short run of products, but the pricing is the same as the on-demand, so you do not benefit from any economies of scale, so I would not recommend using them as a short-run producer.

I hope that in the future, elasticStage allows for dropshipping, because they are by far the best choice I’ve found for on-demand vinyl.

Kunaki

Kunaki is a very well-regarded super-cut-rate on-demand manufacturer, that has extremely aggressive pricing. They also have a quite broad product selection, and will do CDs, vinyl, cassette tapes, DVDs, and blu-ray discs. Their on-demand pricing is actually comparable to most short-run manufacturers!

They’re also primarily set up for drop-shipping, making them an amazing choice for selling your music via Bandcamp or the like.

However, they have a big downside in that their packaging is super barebones.

On CDs you get a jewel case with an outer tray and a 2-panel insert. That’s it. But it’s also only $2/copy (plus shipping, which is super reasonable). That’s impossibly cheap.

Their vinyl is considerably more expensive ($36/copy) and I haven’t heard good things about their output, so I wouldn’t use them for that.

Cassettes are $5, and again I cannot speak to their quality. But that’s definitely a fun option for folks who want that particular form of nostalgia. (Personally I’d have no way of even playing one, but you do you!)

There is another big downside to Kunaki in that they will only retain your setup files for 180 days past the last order, so if you only get orders sporadically, you’ll have to redo your setup as much as twice a year. Doing the setup is pretty straightforward though, and if you’re only selling sporadically it’s probably Just Fine™.

So, that said, if the packaging limitations for CDs are acceptable, Kunaki seems like a great choice, especially for drop-shipping.

However, their international shipping is incredibly expensive, so that’s something to keep in mind if you have a global audience.

Artglider

Artglider is another on-demand manufacturing thing that comes up a lot in these lists. Their offerings are super limited — they only do CDs and vinyl, with the same specifications as Kunaki — and from what I’ve seen from reviews online, their quality is pretty abysmal, and their pricing is a lot higher. CDs cost $3.80 each with an up-front $20 setup fee, and their vinyl is $49/each with a $42 setup fee.

They do drop-ship, but I see no reason to go with them instead of Kunaki.

Short-run production

If you are doing larger amounts of sales than most independent musicians online, you might want to look into short-run production. Doing so means managing your own inventory and shipping (and that inventory can take up a lot of space in your home or office), and having to find a source for CD and vinyl mailers. You do get much better control over the output, and sometimes pricing can be a lot better as well.

Discmakers

There used to be a whole lot of businesses in this space, but most are long-gone. Discmakers has been around for ages, though, and many of the other companies you’ll find online are really just reselling Discmakers' services.

Their pricing is pretty good, at under $3/copy for a CD (with a number of packaging choices, including digipaks and jewel cases, both with and without booklets) and around $12/copy for vinyl, with highly-professional results. However, their minimum order size is 100, which can present quite a large up-front investment as well as a lot of space taken up by the inventory.

Atomic Disc

Atomic Disc isn’t as well-known as Discmakers, but they are a compelling option if you want a shorter run size and are willing to compromise on the packaging. Their jewel case and digipak options still have a minimum run of 100 (and cost a bit more than Discmakers), but they have lower-cost options that have a minimum quantity of 25, but which also don’t come across to me as looking very professional. They seem to be a better option for someone who is looking to produce polished-looking demo CDs to submit to record labels and radio stations, rather than for producing retail releases.

They don’t seem to have any advantage over Discmakers when it comes to vinyl, as they have the same minimum quantity at a higher price.

Bison Disc

This is another company I only learned of while doing research for this blog post. They have quite a few offerings for CD, and in particular their Digipak service looks pretty compelling, at $220 for 100 copies. They also include free proofs, which is super uncommon!

They do offer shorter run sizes but their pricing appears to cost nearly as much for 25 copies as it does for 100, so it’d have to be a pretty strange circumstance where you’d want to go with the smaller run size.

A note on longevity

All short-run and on-demand CD manufacturers are going to be burning CD-Rs. CD-Rs degrade over time. My very first album came out 25 years ago on a DIY short-run CD release and not a single copy that I know of is still playable. foodsexsleep was replicated by Discmakers in 2009 and while it’s fared somewhat better I’m still not super optimistic that these discs are going to last much longer.

Vinyl, no matter how high-qualty, and regardless of whether it’s pressed or lathe-cut, is going to degrade with every playback.

Even pressed CDs have a shelf-life.

These artifacts are good as collector’s items, and as a show of support for the artists. They are not a permanent, long-term storage solution for your music. Please make your music available digitally, in as many places as possible, because companies themselves also fail.

And for those who collect music, and keep everything locally on a hard drive with multiple backups, because you never know when that song you like is going to just poof out of existence.

Nothing is immune to entropy.

My personal conclusions

For now, I’m going to use Kunaki for my CD sales through Bandcamp, and I’ll probably put more of my albums on elasticStage for vinyl and CDs sold through their storefront. It will be some time before I’ve generated the required setup files, but people have expressed interest in physical CDs (not so much for vinyl) so I’d might as well make it available.

By the time that I’m in a situation where doing short-run replication makes sense, however, the landscape will have probably changed immensely.

On both of my albums, I am extremely pleased to report that the audio quality has improved in every possible way! The surface noise is essentially gone, and everything sounds perfectly clean. Some of the subtler sounds that had been lost behind the surface noise before are now super apparent, too.

The difference is much more profound on Transitions than on Refactor, but both albums have definitely improved as a result of their process change.

The actual manufacturing and delivery time was also greatly reduced from the last time, which tells me that they’ve probably cleared a backlog in their manufacturing.

Here are some comparisons between the original digital version, the first cut, and the recut. These were recorded on my TEAC TN-300 turntable using its built-in preamp and a Behringer UCA202 USB audio interface. All versions' levels have been normalized to the same LUFS target, but they are otherwise unprocessed. Also, the pitch is slightly higher on the turntable, which is likely a sign that I need to adjust it (or perhaps elasticStage’s lathes are running slightly slow) UPDATE: I just checked, my turntable is indeed running slightly fast.

Anyway, if you’re interested in buying physical copies of these albums, you can get them from my elasticStage page.

I will be performing three 15-minute live sets at Trans Academy as part of the annual Trans Pride VR festivities! Please join TRANS.7885 to attend! (And come to Trans Pride VR too! It’ll be fun.)

I will also try to stream my sets at the usual place but there are no guarantees.

I will be performing three 15-minute live sets at Trans Academy as part of the annual Trans Pride VR festivities! Please join TRANS.7885 to attend! (And come to Trans Pride VR too! It’ll be fun.)

I will also try to stream my sets at the usual place but there are no guarantees.

I will be performing three 15-minute live sets at Trans Academy as part of the annual Trans Pride VR festivities! Please join TRANS.7885 to attend! (And come to Trans Pride VR too! It’ll be fun.)

I will also try to stream my sets at the usual place but there are no guarantees.

I performed at VRelium for Horizons: Music Beyond the Universe, on what happened to be my birthday!

You can still access its old microsite. (Be sure to click the “play” button in the corner.)

Happy birthday!

I will be performing a live set with Refraction VR to help kick off Pride month! I hope to see y'all there! For those who can’t make it in VR, I will also be streaming it on my Owncast instance UPDATE: on twitch.

This show is 18+ and will require VRChat age verification.

I will be performing a half-hour live set at Trans Academy, kicking off the new TA Underground concert series. Join VRChat group TRANS.7885 for your access to the show, or watch it live on Twitch.

Last night Furality opened up a dealer’s den preview so that we could check that our booths are set up correctly, and as a treat we got to see a decent chunk of the world and the overall style of the show, and I gotta say, it’s incredible. The Furality team have knocked it out of the park this year, and have really outdone themselves. From what I’ve seen this isn’t just going to be an incredible con, it’s going to be an amazing VRChat experience, and I am absolutely thrilled to be a part of it.

If you’re at all in VRChat (even if you aren’t at all interested in furry stuff), or heck, even if you’ve been thinking of trying VRChat out, I highly recommend coming to Furality Somna so that you can experience the joy. Also, you don’t need a VR setup to use VRChat! it just helps with the immersion (although just a warning, if you play it on desktop or cellphone you’ll probably end up really wanting to get a headset anyway).

Also, I plan on doing various impromptu shows at various places throughout the con, and if you see me wandering around, feel free to come up and say “hi!”

I will be debuting a brand-new composition, “Slow Dance,” at the Trans Academy Prom. Join group TRANS.7885 to attend in person, or watch the show on Twitch.

My lead time at the time was around 6 weeks, and I was told the records would ship on May 14. They ended up shipping a couple days later than expected, but I still ended up receiving them today, which isn’t too much further after the original estimate.

Anyway, here’s my review of how the product turned out.

UPDATE: elasticStage have responded to my review by sending me updated copies. Definitely check out what’s new!

The albums come in a very nice, professional-quality slipcover, with a custom-printed dust sleeve. The print quality is fantastic, and it easily meets or exceeds what I’d expect from traditional vinyl manufacturing.

The records themselves are lathe-cut, and according to elasticStage the blanks are manufactured with a process which are much more environmentally-friendly than traditional vinyl although they do not specify what exactly it is (although some sources say it’s PET, the plastic used for drink bottles).

The labels on the records feel a little chintzy, though. The label for Transitions was slightly off-center (unfortunate, given the circle motif) and both of them very much have a feeling of being printed on an inkjet printer, with a finish akin to early-2000s CD label makers. The print quality isn’t quite as crisp as I’d like. It’s still quite good, though, it just doesn’t feel quite so professional there.

Sound quality is, of course, the really important thing here.

First off, I should mention that while Transitions was properly mastered to modern standards (-14dB LUFS integrated with a -1dB true peak and with EQ matched to a reference curve), Refactor just got a “make things sound properly loud and consistent” approach where I did it all by ear, and spec-wise Refactor’s LUFS are all over the place and with some tracks having a true peak approaching +2dB. So I was super curious how well they’d turn out.

Both of them came out pretty great! They’re not perfect by any means, but the equalization on Transitions matched my expectations. Refactor was a bit treble-heavy, and there were a couple of bits where the high peaks sounded like they might have been hard-limited a little. This was especially prominent on Little Bouncing Ball, and the mp3 version streamed via Plex to the same hifi setup didn’t have the same characteristics.

I would be super interested to know how much better Refactor could sound if I gave it a remastering pass, but as it is, the current vinyl version sounds quite good! It also does sound characteristically like vinyl, so I don’t hate it by any means.

The big downside is that both albums do exhibit a lot of surface noise, and that surface noise actually sounds a lot like some sort of digital noise floor issue, which makes me wonder about the signal chain in their lathe setup. I had cleaned both records and my stylus and it made no difference to the surface noise, so I can only guess that it’s probably due to how the lathe cutting works.

But anyway, Transitions still made my tears well up at the places it normally does, and something about the string arrangements just felt richer and more emotional to me. And the surface noise gave both records something of a vintage feeling to them, even though the noise itself didn’t sound like typical vinyl noise.

So, with all that said, I produced the vinyl to be a collectible artifact, and not to have better audio quality. Given that both albums were produced entirely digitally and are available in lossless formats from Mirlo and Bandcamp, if you’re looking for the ultimate audio quality, buy them in FLAC. Personally I just use the high-bitrate MP3 versions.

But as an artifact, an indication that I was here and that I left my little mark on the world, I absolutely love that this service exists, and if anyone else feels the same, I have no qualms about offering these albums for sale through elasticStage.

(But if you just want to listen to them digitally, that’s fine too!)

I recently polled on Mastodon about next records to produce. The overwhelming response I got is that people would prefer that I make CDs instead. Fortunately, elasticStage makes those too! So, expect that to be a thing in the not-too-distant future.

I’ll still probably put more albums out on vinyl as well.

One I really want to do is Lo-Fi Beats to Grind Coffee To, but unfortunately that will have to wait until elasticStage supports multi-disc sets, as 63 minutes is a bit too long for an LP. They do have multi-disc on their roadmap, although they’re not expecting it to be available until next year at the earliest.

It’s that time again! Join TRANS.7885 for access, or watch on the Twitch stream Whoops, there was no Twitch stream this time, sorry to anyone who was expecting to watch me that way.

I will be performing an acoustic version of Play That Game at the Trans Academy’s “Moonlit” concert series. Join TRANS.7885 for access, or watch on the Twitch stream.

As someone who wasn’t a performing musician at the time, I still benefitted from it, as it gave me an occasional tiny boost to my (already tiny) music income.

But at this point it’s an entrenched tradition and it’s actually causing more harm than good. It might be time for it to end, or at least be reconsidered.

Because of Bandcamp Friday, there are two unfortunate tendencies which end up amplifying one another:

1. Many musicians are now withholding their releases until Bandcamp Friday so that they can get the biggest cut of their sales, meaning that all listeners are now overwhelmed with an absolute torrent of release and marketing notices on that one day, causing their music to be lost in the fray
2. Many listeners are now withholding their purchases until Bandcamp Friday with the well-meaning intention of supporting the musicians as best they can

Both of these tendencies compound, badly. For example, a significant amount of Bandcamp attention ostensibly comes through the release-window charting. It should be a good thing for musicians to stagger their releases out so that they aren’t competing for visibility and purchases within their release window. At the same time, it’s better for charting purposes for listeners to buy an album when it first releases, rather than waiting up to two months for it to happen later.

This has also likely had a much more profound impact on Bandcamp’s bottom line than expected. Bandcamp hasn’t been public about how much the impact has been, but there’s been a couple of hints about this; for example, a couple of times they’ve ended up in sponsorship arrangements with other companies (such as one with Roland), presumably to help defray their own losses on those days. It did not do anyone any favors.

But they’ve also gotten stuck; on months where they don’t do a Bandcamp Friday, people complain!

Bandcamp has their own share of expenses in running the company, so obviously they can’t just remove their cut permanently. But they’ve effectively ended up in a situation where they’re constantly having to compete with themselves; there’s roughly one day out of sixty when they make no money, but those days also have an outsized influence. If they’re able to afford that, perhaps they could reevaluate what their normal sales cut is and just do a permanent reduction all around.

Mirlo allows musicians to select how much of a cut Mirlo gets, and they suggest 7% as the amount that covers Mirlo’s expenses at a break-even level. Bandcamp’s cut is currently 15% for “long-tail” artists and 10% for artists who generate at least $5000 per year. There are a lot of factors that would go either way in terms of Bandcamp’s actual costs compared to Mirlo’s, but perhaps Bandcamp could change their cut permanently to be 10% for long-tail and 7% after the $5000 threshold.

My own sales over the past year have broken down as follows:

• Total gross revenue, whole year: $942.57
• Total gross revenue on Bandcamp Friday: $754.64
• Bandcamp’s total collected share: $63.32 (6.7%)
• Payment processor fees: $41.15
• Sales tax: $58.07
• My net revenue: $777.03

If they’d change their fee structure instead of having these periodic loss-leading sales events, then assuming the same number of sales for me throughout the year it would have been more like:

• Total gross revenue, whole year: $942.57
• Bandcamp’s total collected share: $94.26 (10%)
• Payment processor fees: $41.15
• Sales tax: $58.07
• My net revenue: $749.09

I’d have only made a little bit less, but Bandcamp would have made a bit more, but also, that’s only assuming the same number of sales happened. If it weren’t for the dynamics of Bandcamp Friday, it’s quite possible that I’d have made more sales overall, and in particular since more sales would have come during the release window of my albums, it could have led to charting and the increased promotion that came as a result of it. I have absolutely no idea how to reasonably estimate that, but assuming I made even 15% more in sales as a result of the changed dynamic ($1084), then at a 10% cut it would look something like:

• Gross revenue: $1084
• Bandcamp split: $108.40 (10%)
• Payment processor fees: $47.32
• Sales tax: $66.78
• Net revenue: $861.50

This would have benefitted both me and Bandcamp. And heck, even if Bandcamp were to keep their 15% cut I’d still be better off:

• Gross revenue: $1084
• Bandcamp split: $162.60 (15%)
• Payment processor fees: $47.32
• Sales tax: $66.78
• Net revenue: $807.30

As things currently stand, though, we have more and more musicians fighting for an even smaller slice of the pie, and listeners are getting annoyed.

At this point Bandcamp Friday isn’t really helping anyone and it is probably long past time that it came to an end.

Bandcamp have already committed to a few more Bandcamp Fridays this year but I honestly hope that they do not continue it into 2026. It’s doing more harm than good.

Bandcamp have recently made some default pricing changes and based on their reasoning I have opted to change my own pricing strategy (as hinted at previously). Previously I had a kind of complicated and largely vibes-based approach to pricing, but it was doing me no favors. From now on, all of my albums will be $1/track up to $9, and individual songs will be $1.50/track, with occasional exceptions for certain considerations.

Anyway, for this Bandcamp Friday, you can get 25% off anything in my catalog (including my full discography, which is also always discounted) with the discount code “MAYDAY25.”

Also, as usual, here’s some of the stuff I’ll be buying this month:

• The music of Alex Graey
• The music of YonKagOr
• Deadnames by PER INK (not to be confused with my album of the same name, gee it’s like we’re both trans or something)

And here’s some of my other recommendations for things I already own:

• Baby Trans by Kookie
• Tiger Pop Ten by John Brodeur
• Birthday Cake and MEEMS by Miracles of Modern Science
• Expert in a Dying Field by The Beths
• Things Take Time, Take Time by Courtney Barnett

This weekend, on Saturay, May 3, my real-life choir is doing a fundraiser show. I will be performing in two pieces, singing tenor in a rendition of Vienna Teng’s The Hymn of Axciom and doing a minimal jazz piano rendition of my own song Repair My Heart.

Then in June, I have a whole bunch of stuff going on:

• Furality is taking place from June 5-8, and I have a booth in the dealer’s den, where I plan on having some small impromptu performances; you might also find me out and about throughout the rest of the convention, in which case, feel free to come by and say “hi!”
• My choir will be performing with Rainbow City on June 6 (which I may or may not be a part of, depending on how badly this conflicts with Furality)
• I will be performing a Pride show with Refraction VR on June 7 May 31!
• The choir will be doing a preview of our pride show on Vashon Island on June 13 (which I will be a part of)
• We are also doing our full pride show on June 20 and 21 in Seattle

And I may have another concert happening in June as well! Watch this space! (or better yet, my show calendar)

For each album that you want to change the prices on:

1. Open up your album’s editor

2. Open up your browser’s Javascript console (usually using ctrl-alt-I on a PC, or cmd-alt-I on a Mac)

3. Paste in this bit of code (assuming you want to set the price to 1.50 per track in your local currency; change the '1.50' to whatever value you want it to be otherwise) and press Enter:

   document.querySelectorAll('input.price[name^="track.price"]')
       .forEach(e=>{e.value='1.50';e.dispatchEvent(new Event('change'))})
   

4. Verify that the prices are the way you want them and then click “update album”

Note that copy-pasting random Javascript from the web is generally unsafe to do, so I’ll explain exactly what this code does:

1. document.querySelectorAll asks the browser to give a list of items on a webpage; in this case, the query input.price[name^="track.price"] asks for all of the text inputs which have a class of price and a name starting with track.price, which is how Bandcamp marks a text input as being a track price
2. forEach runs a function on each of the text inputs; in this case, for each one, it
   1. sets the value attribute (which is the text in the box) to 1.50
   2. notifies the browser that the value has changed (which is necessary because Bandcamp is using custom validation and data binding logic)

Anyway. This is still not great, process-wise, but it’s a lot easier than having to edit every single track manually.