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Label Kid: Confidential Survey

Label Kid: Confidential Survey

Welcome — and thanks for showing up. This isn’t just another survey that will be a waste of your valuable time. It’s your chance to shape a platform built for artists, by artists — designed that way from the start. Everything here comes from a place of utmost respect for your craft and a commitment to making the creative life easier, fairer, and more rewarding. Please set aside about 15-20 minutes to complete this survey. 
116Questions
  • 1
    Who is this for? Artists, band members, producers, DJs, engineers, and collaborators who’ve been directly involved in publicly released music—whether on your own, with a band/collective, or contributing to someone else’s release. You must be at least 18 years old to participate. Your info We are not asking for any personal or identifiable information. Your responses will be used only by Label Kid for research—never shared or sold. Why it matters We’re building something new for artists, by artists. Your input helps us make it real and relevant. No tricks—just research to shape something new, for you, for us. Voluntary Participation in this survey is voluntary. You can exit at any time with no penalty. Are you cool with this and OK to proceed?
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  • 2

    Before We Jump In


    Just a few very quick things:

    • Time commitment: This survey takes about 15–20 minutes. We’ve designed it to be clear and easy to finish in one go.
    • Save and return: If life gets busy, you can save your spot and resume later.
    • Raffle: Every completed survey is an entry for a chance to win our raffle (see the Raffle Terms for full details).

     

    By completing the survey, you’re helping us build something meaningful for independent artists. If at any point you want to reach out, send a message to hello@labelkid.io.

    OK, let’s get started!

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  • 3
    This helps us understand geographic trends in the artist community.
    Please Select
    • Please Select
    • Afghanistan
    • Albania
    • Algeria
    • American Samoa
    • Andorra
    • Angola
    • Anguilla
    • Antigua and Barbuda
    • Argentina
    • Armenia
    • Aruba
    • Australia
    • Austria
    • Azerbaijan
    • The Bahamas
    • Bahrain
    • Bangladesh
    • Barbados
    • Belarus
    • Belgium
    • Belize
    • Benin
    • Bermuda
    • Bhutan
    • Bolivia
    • Bosnia and Herzegovina
    • Botswana
    • Brazil
    • Brunei
    • Bulgaria
    • Burkina Faso
    • Burundi
    • Cambodia
    • Cameroon
    • Canada
    • Cape Verde
    • Cayman Islands
    • Central African Republic
    • Chad
    • Chile
    • China
    • Christmas Island
    • Cocos (Keeling) Islands
    • Colombia
    • Comoros
    • Congo
    • Cook Islands
    • Costa Rica
    • Cote d'Ivoire
    • Croatia
    • Cuba
    • Curaçao
    • Cyprus
    • Czech Republic
    • Democratic Republic of the Congo
    • Denmark
    • Djibouti
    • Dominica
    • Dominican Republic
    • Ecuador
    • Egypt
    • El Salvador
    • Equatorial Guinea
    • Eritrea
    • Estonia
    • Ethiopia
    • Falkland Islands
    • Faroe Islands
    • Fiji
    • Finland
    • France
    • French Polynesia
    • Gabon
    • The Gambia
    • Georgia
    • Germany
    • Ghana
    • Gibraltar
    • Greece
    • Greenland
    • Grenada
    • Guadeloupe
    • Guam
    • Guatemala
    • Guernsey
    • Guinea
    • Guinea-Bissau
    • Guyana
    • Haiti
    • Honduras
    • Hong Kong
    • Hungary
    • Iceland
    • India
    • Indonesia
    • Iran
    • Iraq
    • Ireland
    • Israel
    • Italy
    • Jamaica
    • Japan
    • Jersey
    • Jordan
    • Kazakhstan
    • Kenya
    • Kiribati
    • North Korea
    • South Korea
    • Kosovo
    • Kuwait
    • Kyrgyzstan
    • Laos
    • Latvia
    • Lebanon
    • Lesotho
    • Liberia
    • Libya
    • Liechtenstein
    • Lithuania
    • Luxembourg
    • Macau
    • Macedonia
    • Madagascar
    • Malawi
    • Malaysia
    • Maldives
    • Mali
    • Malta
    • Marshall Islands
    • Martinique
    • Mauritania
    • Mauritius
    • Mayotte
    • Mexico
    • Micronesia
    • Moldova
    • Monaco
    • Mongolia
    • Montenegro
    • Montserrat
    • Morocco
    • Mozambique
    • Myanmar
    • Nagorno-Karabakh
    • Namibia
    • Nauru
    • Nepal
    • Netherlands
    • Netherlands Antilles
    • New Caledonia
    • New Zealand
    • Nicaragua
    • Niger
    • Nigeria
    • Niue
    • Norfolk Island
    • Turkish Republic of Northern Cyprus
    • Northern Mariana
    • Norway
    • Oman
    • Pakistan
    • Palau
    • Palestine
    • Panama
    • Papua New Guinea
    • Paraguay
    • Peru
    • Philippines
    • Pitcairn Islands
    • Poland
    • Portugal
    • Puerto Rico
    • Qatar
    • Republic of the Congo
    • Romania
    • Russia
    • Rwanda
    • Saint Barthelemy
    • Saint Helena
    • Saint Kitts and Nevis
    • Saint Lucia
    • Saint Martin
    • Saint Pierre and Miquelon
    • Saint Vincent and the Grenadines
    • Samoa
    • San Marino
    • Sao Tome and Principe
    • Saudi Arabia
    • Senegal
    • Serbia
    • Seychelles
    • Sierra Leone
    • Singapore
    • Slovakia
    • Slovenia
    • Solomon Islands
    • Somalia
    • Somaliland
    • South Africa
    • South Ossetia
    • South Sudan
    • Spain
    • Sri Lanka
    • Sudan
    • Suriname
    • Svalbard
    • eSwatini
    • Sweden
    • Switzerland
    • Syria
    • Taiwan
    • Tajikistan
    • Tanzania
    • Thailand
    • Timor-Leste
    • Togo
    • Tokelau
    • Tonga
    • Transnistria Pridnestrovie
    • Trinidad and Tobago
    • Tristan da Cunha
    • Tunisia
    • Turkey
    • Turkmenistan
    • Turks and Caicos Islands
    • Tuvalu
    • Uganda
    • Ukraine
    • United Arab Emirates
    • United Kingdom
    • United States
    • Uruguay
    • Uzbekistan
    • Vanuatu
    • Vatican City
    • Venezuela
    • Vietnam
    • British Virgin Islands
    • Isle of Man
    • US Virgin Islands
    • Wallis and Futuna
    • Western Sahara
    • Yemen
    • Zambia
    • Zimbabwe
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  • 4
    We want to know where you’re coming from as an artist. Your answers will be kept strictly confidential — not shared, not sold. We’re looking to get the real picture of you, so we can develop something that reflects the full range of artist experiences.
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  • 5
    There are more genres than there are sheep in New Zealand. Please select up to three.
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  • 6
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  • 7
    This includes singles, EPs, albums, remixes, or compilations, and any/all formats.
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  • 8
    If you're comfortable with it, please share one public link where your music is available (Spotify, Apple, Bandcamp, or an official website). This is not required.
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  • 9
    Don't worry, we won't be asking specifics.
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  • 10
    Click Next if not.
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  • 11
    We want to understand the mix of ways you’re earning from your music — whether that’s streaming, live shows, or something else entirely. This helps us see the full picture of how artists sustain themselves.Choose all that apply.
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  • 12
    Think about what you’re aiming for in the coming year — whether it’s growing your audience, releasing more music, or improving your craft. This helps us understand where you’re headed so we can put your answers in context. Select all that apply.
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  • 13
    Every artist hits roadblocks — from creative stalls to business headaches. Select the challenges that resonate most with your current situation, so we can better understand your world. Select all that apply.
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  • 14
    Sorry to ask so directly. When considering all music related income and costs, say, like, in a year, are you turning a profit or are you in the red? You don't have to answer this.
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  • 15
    Think about your general release pattern — are you more of a "drop it when it’s ready" artist, someone who follows a strict plan, or somewhere in between? This helps us understand how structured or spontaneous your release cycle tends to be.
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  • 16
    We’re looking at how your music reaches listeners — whether through a distributor, self-release platforms, or other channels. Think about the main ways your music gets out into the world.
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  • 17
    Think about the things you actually do on a recurring basis — not one-off experiments. Select all that apply, even if you handle them yourself or with help from others. Select all that apply.
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  • 18
    Think about where you actually put the most effort and get the most traction — not just where you have an account. Select all that apply.
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  • 19
    This is about the single most effective channel — the place that gives you the biggest spike in listens, sales, or fan activity when you put something out.
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  • 20
    This is about the single least effective channel — the place that gives you the worst outcomes most often.
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  • 21
    This helps us understand the scale of investment artists are making in paid promotion. Please include ad spend, sponsored posts, and any paid placements, but not free/organic promotion.
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  • 22
    We're talking about promotion you don't directly pay for — like building an audience through social media, community engagement, email lists, or word-of-mouth. Think of the free, relationship-driven ways you spread the word.
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  • 23
    Think about the total group of people who regularly listen to your music, follow you on social media, attend your shows, or otherwise engage with you as an artist. This isn't about exact numbers — it's more like estimating the size of the room you're playing to.
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  • 24
    This is about geography, not exact counts — think about where the majority of your listeners, followers, or supporters are based. Imagine dropping a pin on the map where your music resonates most.
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  • 25
    This is the country where the largest portion of your audience is based — the one you’d choose if you could only target one country with your music promotions.
    Please Select
    • Please Select
    • Afghanistan
    • Albania
    • Algeria
    • American Samoa
    • Andorra
    • Angola
    • Anguilla
    • Antigua and Barbuda
    • Argentina
    • Armenia
    • Aruba
    • Australia
    • Austria
    • Azerbaijan
    • The Bahamas
    • Bahrain
    • Bangladesh
    • Barbados
    • Belarus
    • Belgium
    • Belize
    • Benin
    • Bermuda
    • Bhutan
    • Bolivia
    • Bosnia and Herzegovina
    • Botswana
    • Brazil
    • Brunei
    • Bulgaria
    • Burkina Faso
    • Burundi
    • Cambodia
    • Cameroon
    • Canada
    • Cape Verde
    • Cayman Islands
    • Central African Republic
    • Chad
    • Chile
    • China
    • Christmas Island
    • Cocos (Keeling) Islands
    • Colombia
    • Comoros
    • Congo
    • Cook Islands
    • Costa Rica
    • Cote d'Ivoire
    • Croatia
    • Cuba
    • Curaçao
    • Cyprus
    • Czech Republic
    • Democratic Republic of the Congo
    • Denmark
    • Djibouti
    • Dominica
    • Dominican Republic
    • Ecuador
    • Egypt
    • El Salvador
    • Equatorial Guinea
    • Eritrea
    • Estonia
    • Ethiopia
    • Falkland Islands
    • Faroe Islands
    • Fiji
    • Finland
    • France
    • French Polynesia
    • Gabon
    • The Gambia
    • Georgia
    • Germany
    • Ghana
    • Gibraltar
    • Greece
    • Greenland
    • Grenada
    • Guadeloupe
    • Guam
    • Guatemala
    • Guernsey
    • Guinea
    • Guinea-Bissau
    • Guyana
    • Haiti
    • Honduras
    • Hong Kong
    • Hungary
    • Iceland
    • India
    • Indonesia
    • Iran
    • Iraq
    • Ireland
    • Israel
    • Italy
    • Jamaica
    • Japan
    • Jersey
    • Jordan
    • Kazakhstan
    • Kenya
    • Kiribati
    • North Korea
    • South Korea
    • Kosovo
    • Kuwait
    • Kyrgyzstan
    • Laos
    • Latvia
    • Lebanon
    • Lesotho
    • Liberia
    • Libya
    • Liechtenstein
    • Lithuania
    • Luxembourg
    • Macau
    • Macedonia
    • Madagascar
    • Malawi
    • Malaysia
    • Maldives
    • Mali
    • Malta
    • Marshall Islands
    • Martinique
    • Mauritania
    • Mauritius
    • Mayotte
    • Mexico
    • Micronesia
    • Moldova
    • Monaco
    • Mongolia
    • Montenegro
    • Montserrat
    • Morocco
    • Mozambique
    • Myanmar
    • Nagorno-Karabakh
    • Namibia
    • Nauru
    • Nepal
    • Netherlands
    • Netherlands Antilles
    • New Caledonia
    • New Zealand
    • Nicaragua
    • Niger
    • Nigeria
    • Niue
    • Norfolk Island
    • Turkish Republic of Northern Cyprus
    • Northern Mariana
    • Norway
    • Oman
    • Pakistan
    • Palau
    • Palestine
    • Panama
    • Papua New Guinea
    • Paraguay
    • Peru
    • Philippines
    • Pitcairn Islands
    • Poland
    • Portugal
    • Puerto Rico
    • Qatar
    • Republic of the Congo
    • Romania
    • Russia
    • Rwanda
    • Saint Barthelemy
    • Saint Helena
    • Saint Kitts and Nevis
    • Saint Lucia
    • Saint Martin
    • Saint Pierre and Miquelon
    • Saint Vincent and the Grenadines
    • Samoa
    • San Marino
    • Sao Tome and Principe
    • Saudi Arabia
    • Senegal
    • Serbia
    • Seychelles
    • Sierra Leone
    • Singapore
    • Slovakia
    • Slovenia
    • Solomon Islands
    • Somalia
    • Somaliland
    • South Africa
    • South Ossetia
    • South Sudan
    • Spain
    • Sri Lanka
    • Sudan
    • Suriname
    • Svalbard
    • eSwatini
    • Sweden
    • Switzerland
    • Syria
    • Taiwan
    • Tajikistan
    • Tanzania
    • Thailand
    • Timor-Leste
    • Togo
    • Tokelau
    • Tonga
    • Transnistria Pridnestrovie
    • Trinidad and Tobago
    • Tristan da Cunha
    • Tunisia
    • Turkey
    • Turkmenistan
    • Turks and Caicos Islands
    • Tuvalu
    • Uganda
    • Ukraine
    • United Arab Emirates
    • United Kingdom
    • United States
    • Uruguay
    • Uzbekistan
    • Vanuatu
    • Vatican City
    • Venezuela
    • Vietnam
    • British Virgin Islands
    • Isle of Man
    • US Virgin Islands
    • Wallis and Futuna
    • Western Sahara
    • Yemen
    • Zambia
    • Zimbabwe
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  • 26
    This includes solo shows, band gigs, DJ sets, or any performance in front of an audience — in-person or virtual.
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  • 27
    Pick the option that best describes your average frequency over the last 12 months.
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  • 28
    Think about the typical settings where you bring your music to audiences.
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  • 29
    Think about the actual kinds of spaces where you usually perform. This is about the physical (or virtual) setting — whether it’s intimate clubs, large theaters, or something else entirely.
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  • 30
    Estimate the typical number of people attending your live performances. This doesn’t need to be exact — just your best average based on recent shows.
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  • 31
    We’re looking for your sense of how much live shows contribute to your music career — not exact numbers, just your perspective on how big a role they play financially.
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  • 32
    Think about the most common way you secure gigs — whether it’s you hustling yourself, working through a booking agent, or relying on a venue’s in-house scheduler.
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  • 33
    This is about your usual lead time — whether gigs pop up last minute or are planned months ahead. Think about your average, not the occasional outlier.
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  • 34
    A residency means playing at the same venue on a recurring basis — for example, every Friday night at the same club. Think of it as your “home court” for live shows.
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  • 35
    Think about the main areas where you’ve built an audience or get booked most often — whether it’s your local city scene, a national circuit, or international touring.
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  • 36
    Think about the ways you turn a great live performance into an ongoing relationship. For example, do you collect emails at the merch table, connect on social media, or hand out QR codes? This is about keeping the connection alive after the lights go down.
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  • 37
    Live performances can be more than ticket sales — they can open multiple revenue streams. Think about all the ways your live shows bring in money, whether directly at the event or as a ripple effect afterward.
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  • 38
    From flyers in coffee shops to Instagram stories, artists use a mix of tactics to get the word out. Think about the channels you use most to attract an audience to your live shows.
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  • 39
    Think about your creative process over the past year. Collaboration can mean co-writing, co-producing, remixing, or any joint project — whether in person, online, or both.
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  • 40
    Consider both in-person and online connections — from local music communities to global networks.
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  • 41
    Think studio hangs, remote sessions, or swapping stems. Choose all that apply — whatever reflects your usual flow.
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  • 42
    This can include any platform you use to share ideas, files, or real-time sessions with collaborators — from DAWs with cloud features to file-sharing services or messaging apps.
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  • 43
    Are there any tools or methods that we didn't ask about?
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  • 44
    By “documentation” we mean anything from a quick email or text to a formal split sheet. What’s most common for you?
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  • 45
    Think about the last 6–12 months. We’re after your gut‑feel average, not a perfect tally.
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  • 46
    This could be a specific track, single, EP, album or remix. If this happened even once, it counts.
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  • 47
    Imagine you’ve been out for a couple weeks. Can you quickly see who did what, what changed, and what’s next?
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  • 48
    Think “one home” vs. files scattered across drives, inboxes, links, and random folders.
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  • 49
    Think about practical, technical, and creative obstacles — from file format or versioning issues to misaligned creative visions, scheduling conflicts, delays, or otherwise.
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  • 50
    Think about your entire body of work — every song, EP, or album you’ve released. By “metadata,” we mean all the important details like song titles, credits, contributor names, roles, identifiers, and splits. How much of this information do you actually have documented and organized?
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  • 51
    Imagine someone claims a share of a song you wrote or produced, or disputes your role on a track. Would your records, agreements, and metadata be solid enough to protect you in that situation?
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  • 52
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  • 53
    IPI numbers identify songwriters and composers, while ISRC codes identify individual recordings. These codes help link your music to royalties and rights databases. How well do you know what they are and how they work?
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  • 54
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  • 55
    If you know, you know.
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  • 56
    For example — mechanical royalties, publishing royalties, master recording royalties, etc. It's admittedly complicated stuff and each works differently and is paid by different sources. How confident are you in knowing which is which and how they apply to you?
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  • 57
    This includes knowing who pays them, when they’re paid, and how they’re tracked. Do you feel you can follow the money from your music to your bank account?
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  • 58
    Think about tasks like entering credits, managing files, filling in split sheets, registering works, and tracking royalties. How does the time spent on this compare to the time you spend writing, recording, or producing?
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  • 59
    Just in general, like when you think about doing the admin for an album, or even a single, are you filled with dread are you are in total command?
    I feel
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  • 60
    For example — missing out on sync licensing deals, radio play, playlist placements, or other commercial opportunities because your information wasn’t clear or easy to find.
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  • 61
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  • 62
    We’re talking about the time between when you decide a release will happen and the date it actually goes live — whether that’s for a single, EP, or full album.
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  • 63
    For example, if you plan to release something in six months, does it usually happen on schedule — or are there often delays?
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  • 64
    Think about past projects — what’s most likely to slow you down? Could be creative, logistical, personal, or collaborative factors.
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  • 65
    Think about all the prep: organizing files, finalizing metadata, registering works, creating assets, artwork, promo materials, coordinating collaborators, running campaigns, etc.?. How big of a pain does it feel overall? Please tap each slider and select an emoji for every row before continuing.
    Prep and organizing
    Mixing
    Mastering
    Metadata and record keeping
    Split sheets
    Rights or Sample Clearance
    Contracts and Agreements
    Registering works
    Packaging and artwork
    Distribution or Uploading to DSPs
    Pre-release Planning or Scheduling
    Media and promo
    Video Assets
    Promo campaigns
    Archiving and storage
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  • 66
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  • 67
    This is about where listeners can actually find your music today. Think DSPs, direct-to-fan platforms, and anywhere else your releases live.
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  • 68
    This could include digital aggregators like DistroKid, TuneCore, CD Baby, direct-to-DSP deals, or selling directly via Bandcamp or similar platforms.
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  • 69
    Drag and drop to rank from your most preferred (top) to least preferred (bottom). Think about factors like audience reach, payout rates, ease of use, and how well the platform represents your work.
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  • 70
    Some artists put their music everywhere to reach the widest audience, while others are selective — focusing on certain platforms for strategic, ethical, or personal reasons.
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  • 71
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  • 72
    For example, wrong artist name, incorrect genre, missing artwork, or outdated information that you couldn’t easily fix.
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  • 73
    This could include reaching out to a distributor, label, or platform, or leaving it unresolved. If you have difficulties dealing with distros, feel free to vent it out here.
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  • 74
    Think about everything you’ve done to earn money from your music — not just streaming or selling records. This might include licensing your music for TV, film, games, commercials, or live performances.
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  • 75
    We’re talking about the different ways music earns money when it’s used — from a film soundtrack to a Spotify stream. Some of these terms can get pretty technical, so just answer based on what you genuinely understand. Select up to three (3).
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  • 76
    Sometimes it’s about not knowing where to start, other times it’s about not having the time, or feeling it’s out of reach. Tell us what gets in your way most.
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  • 77
    If someone approached you tomorrow to license a song of yours, how prepared would you feel to handle it quickly and confidently?
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  • 78
    This includes metadata, rights ownership info, and all the details that get shared with agencies, publishers, or distributors. Without control over this data, deals can fall through — or you can lose out on money owed to you.
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  • 79
    Even if you’re not working on these now, it’s useful to know where you’d like to grow next in your career.
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  • 80
    We all have our reasons — pure creative expression, making a living, connecting with an audience, building a legacy, or something else entirely. What motivates you to put your work out into the world?
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  • 81
    This isn’t about judging your talent — just a snapshot of where you see yourself right now in your career journey.
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  • 82
    Think short-term ambitions — things you want to accomplish in the coming year.
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  • 83
    Every artist faces challenges — from funding to finding the right collaborators. What’s slowing you down the most? Drag and reorder the following as best you can.
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  • 84
    What's getting in your way? Air it out. This is a safe space.
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  • 85
    We all measure progress differently, and success even more differently. For some it’s streams and sales, for others it’s creative milestones or audience feedback.Max 5.
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  • 86
    Your music data doesn’t just live on Spotify or Apple Music — it’s also stored in many other public and private industry databases. These include rights organizations (e.g., ASCAP, BMI, PRS), registries (ISWC, ISRC, IPI), government copyright offices, and public sites like Discogs or MusicBrainz.
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  • 87
    Even if you know these databases exist, controlling them can be tricky. Some let you submit corrections, others don’t — and the process can vary a lot. This question is about your perceived ability to keep your information accurate across all of them.
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  • 88
    Examples include wrong artist name or real name, wrong genre, missing tracks, incorrect release dates, or your work being attributed to someone else. This could be on a streaming service, rights database, or public site.
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  • 89
    Imagine one secure place where you control the authoritative record of your catalog — and it automatically keeps DSPs, rights organizations, and public databases aligned.
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  • 90
    This means one platform where you control your complete catalog and metadata, and it automatically updates as you release new music, giving you a single source to manage all of your data.
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  • 91
    This means one platform where you control your complete catalog and metadata, and it automatically updates DSPs, rights organizations, and public databases to keep everything accurate and consistent.
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  • 92
    If this were available to you next week, what would you want from it and how would you use it?
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  • 93
    Here are some examples of risks artists face today: AI-generated music that competes with your originality or income or doesn't respect copyrights and licensing, or voice cloning and deepfakes, algorithms reducing visibility, incorrect metadata hurting credits or payouts, sudden DSP or distributor policy changes, fraud or streaming manipulation, Web3/crypto scams, losing access to platforms or data, legal gray areas around AI and copyrights, or economic pressures like falling payouts and rising costs. Please rate how threatening each of these feels to your career right now. Each row requires an answer.
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  • 94
    Use this space to expand on your thoughts if you'd like.
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  • 95
    Assume you could organize credits, splits, assets, and release data cleanly, with proof of who did what and when.
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  • 96
    This could be a collaborator credit dispute, a rights claim from another party, or a mismatch in metadata — any situation where having clean, accurate, and complete data could be your defense. (Yes, we asked a similar question already :)
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  • 97
    Imagine your songs, stems, credits, artwork, and contributors linked together so everything is traceable and organized like a map of your creative world.
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  • 98
    You’ve just rated some of the trends and potential threats. This is a space to expand on your views in your own words — for example, how you personally see AI, the semantic web, new rights systems, threats to rights, ownership and licensing, or other changes shaping your work in the years ahead.
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  • 99
    This could include things like managing your metadata, organizing files, handling registrations, chasing collaborators for missing info, and keeping your release timelines on track. Think of it as having someone who takes all the tedious but essential tasks off your plate so you can spend more time on your craft.
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  • 100
    Think of it as a pricing model that starts lower when you’re just getting established and scales as your career and needs grow. The idea is that the platform adapts with you, with pricing that matches your stage and complexity.
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  • 101
    This could be paying per specific item or interaction — for example, per artifact uploaded, per collaborator added, per release distributed, or per registration processed.
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  • 102
    Think of it like: if Label Kid helps you achieve specific growth milestones — like gaining followers, increasing streams, or expanding your fanbase — maybe you’d pay small fees tied to those achievements.
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  • 103
    Different ways of structuring pricing can feel more or less intuitive depending on your career stage, catalog size, and goals. Please rate how "natural" each model feels for you — not whether you would *pay it today*, but whether it feels like a good fit in principle. Please tap each slider and select an emoji for every row before continuing.
    Subscription by career stage/needs
    Subscription by tier (features, storage, collaborators, etc.)
    Per artifact (song, album, release)
    Per collaborator
    Hybrid/micro-fee tied to growth
    Storage fees
    Fees per catalog records/size
    Simple, fixed, predictable pricing
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  • 104
    In your own words, describe what would feel fair, motivating, and right for you. What would you want, in your own words, in an online platform that could help you manage your entire creative workflow and free you from what's holding you back? What pricing feels fair, motivating, and right for you?
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  • 105
    We’re aiming for clear, respectful, and useful. Your answer helps us make future research better for artists.
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  • 106
    Tell us what felt worth your time — a question, a topic, or an idea that resonated. Not required.
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  • 107
    If there’s a gap — something we didn’t ask that matters to you — add it here.Not required.
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  • 108
    Totally optional. If yes, we’ll only contact you about this research. This may also include early access.
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  • 109
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  • 110
    We’ll soon be inviting a limited number of artists first, and then expanding early access. Would you be interested?
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  • 111
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  • 112
    Occasional, relevant invites only — I'm intrigued. No spam!
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  • 113
    No names, no identifiers — strictly anonymous and aggregated.
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  • 114
    We know we covered a lot of ground, and we're so grateful for the time that you put into this. Final question: just based on everything that you've considered in this survey, how curious or interested are you to learn more?
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    Couldn't care less
    Extremely interested
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  • 115

     Label Kid

    We appreciate your interest!

    Although you’re not able to complete this survey, we invite you to keep up with Label Kid. We're very much under the radar right now but check out labelkid.io from time to time, and once we get the socials up and running you can keep up with us there. In the meantime feel free to get in touch at hello@labelkid.io.

    Thanks again.

    You can close this window now. 

     

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  • 116

    Label Kid

    Thank you!

    Thank you for your time and generosity.

    Everything you’ve shared with us will be treated with the strictest confidence. If you have any questions or concerns, you can always reach us at hello@labelkid.io.

    After you click “Submit,” please wait a few moments for your responses to be processed.
    It may take several seconds to finish. Please don’t close this window until you see a confirmation message — your answers are almost there! You'll be returned to Label Kid's website where you can then share this survey with others.

    We’re still keeping things under the radar — not yet active on social media — but if you provided your email, and opted in, we’ll update you occasionally (never too much, and you can opt out any time). You can also check labelkid.io for updates. Our goal isn’t to be loud — it’s to do right by artists.

    Quick note about the raffle: The drawing will take place in December, just in time for the holidays. The grand prize will only be awarded if we receive at least 2,025 completed responses; if not, the second prize will still be awarded. See Raffle Terms for details.

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