#assemblypoint

After paying for the artwork the finished products have been sent over. This is the banner that will be presented to potential listeners/customers when viewing the soundcloud or Facebook pages. It is important to have a fully wrapped and presentable first impression so that people give more time to listen to what the music has to say. The presentation is key so that it catches the eye of listeners to and engages them to listen to the music it is representing, attempting to create a unique identity of the product, creating image in the mind of the consumer (Chole, 2018) also linking to the logo that was designed by Slak Arts, also creating identity to consumers - proving the reasoning behind having multiple variations of the logo, so that it can be put on the front of any work that is released so everyone knows the brand and recognises the logo - forcing people to associate Assembly Point with that image and tell it aside from every other label in the scene, hoping to also be a stand out brand in the dubstep market. In the twenty-first century, branding ultimately will be the only unique differentiator between companies. Brand equity is now a key asset (Fortune Magazine, 1997) by this statement it is clear that putting the Assembly Point brand on every piece of digital work as a stamp, so people recognise that the music is from this label.

References:

Fortune Magazine (1997)

Having received feedback during a peer-review session and at the same time analysing the music set for release’s mixdown’s on the LT1 Genelec system, it was stated by a peer that the snare was too quiet in the chamber, having known this for a while I finally amended the issue in logic. This resulted in the track sounding a lot stronger. 

It was pointed out by a few in the session that the other 2 were strong all round, which left this one having a snare too quiet. This was altered and is now more of a stand out track. 

Dubstep’s 2 main components stated by EDMprod, (2018) and backed up by Nomine (2018) are the kick, snare and bass so they 100% need to be the drive of the track and the most prominent, if the snare lacks volume and punch the track instantly loses it’s main drive resulting in a weak track, despite the other strong elements in the mix. If the snare is too quiet in the mix the track will consequently have no real drive behind it, as the snare covers 200-1khz as its main body, if that isn’t at the forefront of the mix (in mono) the track will not have a main drive. Result in dulling the tracks main punch (snare), which in turn will also cause the track to sound muddy and muffled in the overall mix down.

References:

After analysing the current field for new big artists that seemingly came from nowhere whilst I’ve been plodding along with slow progress as Khanum, it’s been decided that I will instead plan everything out to happen after the deadline. Over the next 2-3 months I will plan and get in contact with another artist to line up to follow the Subtle Element after Khanum’s release in order to be consistent from the get go. Shortly after organising 004 and onto the fifth release - Assembly Point Compilation 001 consisting of atleast 6 artists. 

The artists I will compile for the release will be happy to release on this as it will be 2 disc 12″ format, and comprised of all fellow peers in the scene which have given the confirmation that they’ll be able to release a singular track each. 

Blog post #7

Further developments in the label branding look like this.

After being asked whether I want the design black and white or in colour I came to the decision that in colour mainly, with a design of black and white so it can be put over coloured background for future promotional use.

Blog post #6

This is the replacement track for Bass Middletone, after analysing the reactions it got in the dance, and on soundcloud it’s clear that this track will sell well. It’s got requested for rewind most times I’ve played it, additionally I haven’t sent it to anyone as a dubplate so there will be more of a want for it - I learned this by listening to an idol of mine, Commodo. His tracks always get played live around a year before the actual release, this adds to the hype of the track by people recording it, tagging him in it, people asking for ID’s of the music etc. I’ve personally been watching him live whilst seeing this happen.

After initially planning to release the music in January, I realised I’ll need a lot more time to save the funds up so it doesn’t damage me financially. Proceeding from this thought I now plan to set a release date for late 2019 (after graduating) and instead sorting everything else beside the actual pressing of the records. The pressing will cost around £1200 which I can cover half of with the student loan in April, but the rest will be accumulated through working part-time at my job. 

So because of this, I will have ready my branding, marketing strategies, videos to fit with clips of the music (with the branding in the corner) that I can share around on FB avoiding the algorithms of that outlet, posting in all my networking groups from my personal profile to get the maximum amount of hype around the release.