#allergy guide

[skippulley]

Ready to go raw? (wink) Skip Pulley breaks down the Top 11 best raw natural foods to boost your health, immunity and metabolism; along with detailed health benefits, allergen risk levels and serving/prep ideas. Follow mykahunalife.com and subscribe to the youtube channel.

https://www.mykahunalife.com/2026/01/top-11-healthiest-raw-natural-foods.html

[littlemissshortstuff]

Ultimate Guide to Survive Spring Allergies

Surviving spring allergies if you're as allergic to pollen as I am can feel like a battle. A battle to breathe, to function, and to just feel normal. So how do you combat these allergies? Read more to find out. #pollen #allergies #springallergies

I suffer from severe spring allergies. There are days like today where I’m being bombarded with symptoms before I even wake up. The other day I was still in bed when I woke up from my throat being so itchy. I had to take more Benadryl to get back to sleep. And even with that I still had itchy and watery eyes.

Surviving spring allergies if you’re as allergic to pollen as I am can feel like a…

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[allergicreactionsfm]

Every Release Check List

Consumers typically experience just a few aspects of a piece of music’s release from a record label: The announcement, the pre-order, the stream, and the arrival of the product. But so much more goes into a product than that. There are many steps – many of which we did not know existed when we started Bad Timing. However, that slowly changed over time as the label grew and matured with distribution and sales., and our expectations for it evolved. We are far from perfect, and still frequently find ourselves adding tasks to our new release checklist, but I figured I’d lay out our current process. Like previous Allergy Guides, it would’ve been helpful for me to know some of this information two years ago when we started the label – so I hope this is helpful to some of you.

Production

Artwork Specifications: Tunecore, The Orchard, ADA, and other distributors require a hi-res artwork upload for both digital and physical releases. Make sure you always have access to at least a 1600x1600 JPEG and TIFF of the artwork for any release. In the future, this requirement will likely only increase in size.

UPCs (Universal Product Codes): Our first few non-licensed releases for Bad Timing did not come with UPCs. At this point, I would recommend that any label with larger intentions (whether they are immediately realized or not) to obtain UPC-A codes if possible. Some record plants will provide you with codes if asked, but otherwise you can purchase them (they’re unfortunately a little expensive). Larger labels tend to have their own specified UPC base, which is followed by a catalog number, and then a second-to-last digit that indicates for what type of release the UPC is meant, followed by the final number that is a check digit that can be calculated with this tool. Example: Base = 111111 / CAT # = 012 / Release Type = 1(LP) or 2(CD) or 6(Digital) or 7(7") / Check Digital = 0. Final barcode = 11111101270.

UPC and the Physical Product: If your release will ever be sold in a store, definitely make sure that the barcode image is on the backside of the vinyl, CD, or cassette that is being sold. For vinyl, Bad Timing tends to have a sticker barcode put on the shrinkwrap of our releases and not the art, to maintain the original intended work. Doing this, however, adds a few cents onto each record during the manufacturing process.

ISRCs (International Standard Recording Codes): Make sure to assign an ISRC number to each track on the release. ISRCs are boring, but important. I wrote about them here.

Soundcard: Those pesky digital download cards. Always remember to ask your plant for the link to upload your release’s audio into a soundcard so your customers can easily download the digital version of the vinyl that they bought and will never play.

The Cue and IPR sheets: A record plant does not pass go without them. I wrote about cue and IPR sheets previously here. They’re more fun than drugs!

The Music and Distribution

Organize Your Audio: Make sure, once final masters are received, that you organize MP3, vinyl sides, and WAVs into proper folders for ease of sharing. Once we receive artwork, we typically update the metadata for the MP3s so that they’re how we’d like to appear in iTunes as if we purchased a digital download.

One Sheet: The ever-important one sheet, a music industry staple. A one sheet tells individuals that you hope will one day care about your band or release why they should care or maybe hopefully kind of be interested. Here’s an example of Bad Timing’s one sheet for the reissue of Kevin Devine’s Brother’s Blood. Artwork, release date, a relative bio, tour and sales history, any and all relevant UPCs, a list price, a box lot (i.e., the amount of vinyl that comes in one box), and more! Thomas makes these and we typically split up the duty of creating the content that fills the sheet.

Submitting to Soundscan: Having a barcode is great. Using Limited Run’s excellent Soundscan submitting feature is even better. But guess what? If that UPC is not submitted to Soundscan itself, your music sales are going into a black hole that someone from Interstellar is probably stuck in. How do you submit, you ask? Soundscan has a dead simple title registration page that you can sign up for. Bad Timing uses a mix of ADA and Tunecore for distribution. Sometimes we’ll put digital through ADA, but not physical. ADA, in this case, would make sure our UPC is registered digitally with Soundscan, but it would be on us to make sure that our physical UPC goes through as well. To do that, we use that title reg page.

YouTube / Bandcamp / Soundcloud: We typically put Bad Timing’s music on all of these platforms. I usually handle Bandcamp while Thomas handles YouTube, and Emily will sometimes keep track of Soundcloud for press releases. One thing to note about Bandcamp is that it does submit to Soundscan and you can input ISRCs and all that, so make sure to use proper meta data!

The Nitty Gritty

Update the Monthly Sheets: One of the first things I posted on AR were a bunch of examples of sheets we use to keep track of Bad Timing’s data. I typically handle most of these, but Thomas keeps track of new variants we’re manufacturing and Emily hustles for us on invoices. We have more sheets now than ever. A catalog for keeping track of the DNA of each release, a sheet to log variants and make sure we never press the same thing for a release twice, a PPU sheet to track what all of our releases cost and what we charge for them, and much more. I highly recommend creating your own workflow for this and sticking to it.

Keeping Track of Random Pieces: The monthly sheets take care of most issues in our lives, but we have so many documents and other files to keep track of. Here’s what our Bad Timing Dropbox folder currently looks like. 0rigins holds folders for each release we’ve currently “done” with. Other 000 folders are all current projects. Artist Files are where we keep track of things like contracts, promo photos, and other artist specific files that do not pertain to one specific release. Business Files keeps track of things like distribution documents, production timelines, and more. The Assets folder keeps track of Barcodes, Logos, Fonts, One Sheets, Promo Images, Templates, and more. Stay organized, even if it’s a pain.

Some Promotion: This sounds obvious, but we like people to know about our releases. When launching big releases, we’ll typically make sure that there are posts on Vinyl Collective, Modern Vinyl, and AbsolutePunk about our releases because we’ve created a community of fans that know about our products through those destinations.

[proreviewaz]

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