Submissions

submit_illo.JPG

If you want us to listen to your promo CD to consider for review or airplay, send it to:

The Editor
Ed Pinsent
THE SOUND PROJECTOR
BM BEMUSED
LONDON WC1N 3XX
UNITED KINGDOM

Please make sure you have read and understood the terms and conditions below.

Please bear in mind that The Sound Projector is largely a one-man operation. We will try to find time to listen to your submission, but we don’t like to make promises we cannot keep or raise expectations unfairly, which can often lead to disappointment.

Terms and conditions

  1. Reviews are not guaranteed. Review, feedback or airplay for any unsolicited material is not guaranteed.
  2. All unsolicited items become the property of The Sound Projector and as such will not be returned to you.
  3. We don’t review everything we’re sent.
  4. We cannot acknowledge receipt of your submission.
  5. We will not reply to follow-up emails.
  6. We will not reply to emails enquiring about the suitability of your submission.
  7. We cannot be held liable for non-delivery of your CD by Royal Mail.
  8. We cannot be held liable if delivery of your CD is delayed by HM Customs.
  9. Send at your own risk.

Acceptable formats for submission

  • Vinyl LP (12″ or 10″)
  • Vinyl single (7″)
  • CD
  • Mini-CD (3″)
  • CDR
  • Cassette

Small runs (for example a CDR in an edition of 50 copies) are acceptable.

Please do not send the following as submissions:

  • Unpublished work – i.e. home demos or work not intended for public consumption
  • Submissions without artworks
  • Releases in an edition of one copy
  • Mp3s or other audio files
  • Digitally-published works
  • Digital downloads
  • Music hosted on Bandcamp, Soundcloud, Mixcloud, YouTube, Myspace, etc.
  • Links to any of the above, sent as an email

Caveats

  • Do not send packages to individual writers.
  • If possible, do not send items by recorded delivery or registered mail as this means extra charges for me. If recorded is your only option, then ignore this caveat.
  • If sending from overseas, don’t forget the customs form!

Since February 2007, selected submissions have been briefly noted in weekly posts, in the Recent arrivals category. Read here for further information on Recent arrivals notices.

Why no digital?

The Sound Projector began in 1996, before digital publishing was quite as widespread as it is today. Since then numerous platforms have sprung up, enabling musicians to publish significant amounts of material without even having a single “physical” release to their name. The Sound Projector is not unaware of these developments; it’s an understatement to say that we are living at a critical moment.

The trouble is that for The Sound Projector to accommodate coverage of all of that creative activity as well as physical releases would require a considerable increase in staff resource to run the magazine / website. We are already being sent a large number of physical releases.

If we make an exception for one digital publisher, we have to allow it for everyone. It is feasible that TSP could devote itself to covering digital releases exclusively, but that’s pretty much a complete reversal of a policy that’s been working very well for 15 years. The artists, distributors, creators, labels, and publicists work with TSP on the understanding and expectation that TSP covers physical product. If this were to change, the community of musicians who produce physical product would then find themselves alienated.

We appreciate there are several grey areas, including records that exist both as physical product and digital download. In such cases, if we’re sent a physical copy, it will be considered as a valid submission.

We realise this position may not be tenable for much longer and that at some stage digital publishing will be the only viable option available, especially for unsigned bands and musicians. We also appreciate that there are considerable advantages to digital publishing, including the efficiency and convenience; the ease of means of distribution; the fact that it’s greener for the environment to produce mp3s instead of pressing 1000 copies of a CD. And of course, it allows the artist to retain a deal of artistic and financial control over their material.

Posted in