Start your releaseYour song is done. Now what?
TAP is the desk for everything after the master: the plan, the press kit, the pitches, the posts and the royalty admin. It prepares, you approve. £59 a release, and a single, an EP or an album all count as one.
Built by a plugger with five years pitching UK radio, for his own releases too.
The moment the music is finished.
Then everything arrives at once: the plan, the press kit, the pitch emails, the socials, the follow-ups you forget because you are one person doing five jobs. Most artists do it all badly at 1am, or pay someone £300 a month to care less than they do.
Four steps, from bounce to coverage.
The real screens, from the desk you get on day one.
Know it is ready before anyone hears it.
Drop a bounce. Mix Check measures loudness, headroom, dynamics and width on your own machine, then reads those numbers back four ways: listener, producer, mix engineer, industry. No score, no opinion on the song. Free, and the file never leaves your laptop.
The release, planned backwards.
Give TAP the track and the date. It fills in the weeks, writes three angles and a press release from your brief, and builds the press kit on a link you can paste anywhere.
Pitches that show their work.
Bring your contacts. TAP writes one pitch per person with the reason it picked them, then waits. You read, edit, approve, and it sends from your own Gmail inside your send window.
Every win, in one place.
Replies, plays and coverage land against the person and the release. TAP drafts the post about each win, files the royalty admin for you to submit, and tells you what worked next time.
Eighteen jobs after the master. All of them here.
The whole desk, not a pitch tool. Nothing below is an add-on.
Backwards from your date. Give TAP the release day and the weeks fill themselves in.
Every deadline on the right week. Radio three weeks out, press two, socials on the day.
Embargoes respected. Nothing goes early, and TAP says why in plain words.
Three angles from your brief. Written in your voice, and you pick the one that is true.
A press release with your quote. The paragraph a journalist can lift as it is.
An EPK on one link. Stream, artwork, facts and press shots, always current.
Your spreadsheet, imported. One paste, and the desk knows who you know.
Warmth per person. Who replied, who played, and who has gone quiet on you.
A queue with reasons. Five names a week, each with the reason it picked them.
One pitch per person. Not a mailmerge. It reads like you wrote it, because you edit it.
Approve, edit or bin. Every message waits for you. Nothing moves on its own.
Sent from your Gmail. Inside your send window, so replies come back to you.
Replies logged. Against the person and the release, so nothing gets lost in a thread.
Follow-ups on the day. Drafted when they are due, not three weeks later.
Posts from real wins. Written when coverage lands, and only then.
PRS and PPL, explained and tracked. The song and the recording, what each one is for, and which you still owe.
ISRC on the record. Kept with the release so you never dig for it again.
A report you can send. What landed, where, and what it was worth.
Playlist checks, baked in
Curator lists on your send list get a basic bot check before you pitch. The full tool, with bulk checks and monitoring, is spotcheck.cc.
A daily angle, if there is one
One trending angle a day for your release, or nothing on a quiet day. Full scoring, briefings and voice profiles live at newsjack.cc.
Your release, packaged.
The three things a journalist, a producer or a fan actually opens: a press kit, a press release and one public page per release. All written from the same brief, all on your own link.
sadact
For immediate release
sadact returns with Maybe (i), out 2 October.
Shuffling percussion, warm melodies and a heavyweight low end. Maybe (i) is emotive UK garage that works on a late-night drive as well as it does in the mix.
“I wanted to capture that feeling of nostalgia and emotion you get from the best UKG tunes,” sadact says.
ends · press contact and assets in the kit
sadact
Maybe (i)
Deep, emotive UK garage with breakbeat energy and rich bass textures. Nostalgia and euphoria in equal measure.
One public page per release. Artwork, the story, streaming links and the coverage as it lands, on a link you put in the bio and every pitch. Your back catalogue builds itself.
“Nothing sends without you.”
You approve the specific message or it doesn’t go, for every email and every post. It’s your name on the release; that’s the whole point.
Pay when you have a release.
£59 covers one track from first plan to final wrap. No subscription you resent by month three.
- Release timeline, built around your track and date
- Pitch drafts for every contact you bring
- Posts drafted from wins, once coverage lands
- Approve every message before anything moves
- Reply tracking and coverage log
Built from both sides.
I’ve done this job from both sides. Four years pitching radio for other artists (the spreadsheets, the follow-up emails, the coverage reports) and my own releases as sadact: finishing a track, feeling great for a day, then staring at the blank pitch doc wondering where to start.
TAP is the version of that work I always wished existed. The standards of someone who has done it professionally, at a price that makes sense for one artist with one release. No middleman taking a cut of your music, no monthly fee for a service you use twice a year. Pay for a release when you have a release.
Nothing happens without your judgement. You read, edit and approve every pitch, every time. TAP does the preparation so that decision doesn’t take three weeks of 1am spreadsheet work.
This market has some real bad actors.
Before you spend anything on music promotion, here’s what TAP will never do.
- Buy ads with your money.
- Promise playlist placements. Anyone who guarantees those is selling you bots.
- Send a single word you haven't read.
- Show you who we drafted for and why, before anything is sent.
- Let you edit, reject, or replace every single message.
- Log everything that happens: replies, coverage, outcomes.
Straight answers.
answered
01Will you send anything without my approval?
No. You approve the specific message or it doesn't go, for every email and every post. It's your name on the release; that's the whole point.
02What does the release pack include?
The release plan and the pitch emails for one track, from the first release build to the final wrap, plus reply and coverage tracking. One payment covers it until the release is done.
03What if I have more than one release?
Buy a pack for each one. There's no subscription, so you only pay when you've got something to promote.
04Do you guarantee placements?
No. Anyone who guarantees playlist placements is selling bots, not music PR. TAP shows its work at every step: who we drafted for, what the pitch said, what came back. You decide what to send.
05What is the difference between TAP and just submitting to SubmitHub?
SubmitHub is a submission marketplace: you pay per submission to a curatorial inbox. TAP is the team behind a release, covering the plan, personal pitch emails to specific journalists and radio producers, and the posts. Different job, different tool.
06Is my data secure?
Encrypted at rest and in transit. Protected under UK law. We never share contact data between accounts.
