I'm glad to report that we have a new mastering team on Vocallective Records. Whether you're already a member or a prospective one, bear in mind that tracks released under Vocallective can be mastered free of charge for you.
Hopefully this should be an incentive for people who are not so confident in their mixing skills, let's listen to your demos anyway. All you gotta do now is send us the stems as well as the master mix. If you need examples then feel free to request them at firstname.lastname@example.org.
Heads up: we have a new twitter link. It's @vocallective now, so we just removed the underscore.
Today... Well, a week ago to be exact, marks Vocallective's one year anniversary. I might as well just thank AdyS and Eyes right off the bat since they contributed to our first release, which still is one of our most successful albums.
Throughout the following months I'd approach other musicians (or the opposite), some of which you knew of, others that you didn't, to make arrangements for Vocallective. They have always been friendly and collaborative.
It's easy to get caught up in the usual bureaucracy that ultimately gets in the way of a release, resulting in delays and lack of productivity, but I'm happy to observe that, so far, our catalogue represents not only great music but also a greater mindset, that which facilitates putting out 18 releases a year, without compromising their quality at all. Reading René Guénon (don't do that) I realized that one of his observations applies to the current music industry quite well: we live in a society where action is praised over knowledge. This results in a ton of shovelware that, specially artists (let's be honest), put out just for the sake of it. "Might as well put it on the internet, fill her up." Fortunately, quantity and quality (action and knowledge) are not mutually exclusive, but it's hard to get the balance right. By joining everybody's efforts, Vocallective was able to defeat the odds so far. I would even say, most of the stuff here is some of the best engloid material ever. Same goes for the illustrations (though the competition is fierce there of 'course). Can't say I'm not biased but I am kinda picky with what gets released and not, so ultimately I truly believe we have something going on here, otherwise it wouldn't be released.
We've gotten a lot of demos so far, some of which we had to turn down. But please don't be disheartened: I'll always say what I (and other musicians I consult with) feel could be improved, and I mean that. It's not just a way of saying no, but rather more like, if you fix this, you could be in Vocallective later. I understand how precious a critique can be sometimes so I'd never make light of that (even if it's just my humble input).
Finally, thank you, our listeners, which together have amassed at least 30k listens and thousands of downloads/purchases (stats that I can keep track of). We appreciate every word, doodle, post, share, etc, it means so much to us. Even those that aren't so outspoken (like myself) can't help but feel grateful for it. Remember that we're all human here. Although sometimes I might feel like a hairy creature that crawled out of the swamp, but that's beside the point. That other fact makes it harder for me to be in permanent contact with every person involved in Vocallective, but fortunately you all are patient, which in turn inspires me to do the rounds as well.
Just a bunch of disjointed thoughts that I hope make sense. Here's to another good year. Cheers!
Scott at MikuStar.net just recently wrote an article on Vocallective Records. Click on this link to read it.
Got an e-mail from Haruo Kato, manager of Gatling Tune, a Vocaloid music label from Japan. They recently put out an album with 36 tracks of all sorts of Miku goodness and would like you guys to check them out:
I really liked what I heard from the crossfade.