If you’re here for the 2024 Ambient Mark Rushton Playlist at DISCO.AC, click here to access the eight track playlist of ambient music.
If you want to read The Rest Of The Story, keep going.
I decided to renew my DISCO.AC subscription for another year. $368, which includes the extra Discovery Suite. I’m entering my third year as a subscriber.
DISCO.AC is a service that allows me to create playlists (public or private, streaming or download) of my recordings to share with music supervisors, sync license agencies, or clients looking to use my music and sounds outside of a stock music library (I use Pond5 for Stock Music).
If a client was interested in using my music, I could deliver the track to them with full metadata through DISCO.AC’s back-end.
I find DISCO.AC’s service a lot more professional that attempting to use a Spotify playlist, or something on Soundcloud. Or Dropbox.
Here’s a scrunched version of the DISCO.AC desktop view:
On the surface, DISCO.AC’s interface looks clean, but as you get further down into the submenus I find it very confusing to use. I really wonder how it all fits together.
Everything is built on the “playlist” concept. So I start off building a “playlist”, which can be as little as one track.
I think I have too many playlists on DISCO, and need to pare it back to just a handful.
Deep within the track and playlist sections, you can add cover art, metadata, comments, moods, instruments, and other details.
On the Discovery Suite side, I can pitch a curator my new releases, or catalog tracks. When I’ve submitted playlists and tracks in the past, there’s rarely an indication from the stats that anybody has listened.
(I’m sure after I submit a pitch to Spotify for Artists, Amazon for Artists, or Deezer for Creators that I’m usually just hitting a bot that is analyzing my written pitch and the track for certain qualities. Maybe human ears hear it, but I don’t know.)
In any case, I’ll give Discovery Suite another year of attention.
For the next year, I do plan to send submissions to various sync license agencies and related types. That’s a hard road, and I don’t work in the most popular genres, but you never want to give up on your catalog.
I’m also going to try to drum up some local and regional interest. I’ve been building a database of filmmakers and videographers.
After a couple years of being a paying customer of DISCO.AC, I’m still a little exhausted when I use it.
I think if I keep the number of playlists smaller and focused, that might be best. I don’t know.